Culture and Art - rubric Question at hand

Abstract: The style and the issues related to the concept of origin and development as well as the shaping of major stylistic trends constitute the key notions in the art criticism and art history. Nadezhda Savelievna Woitinskaya (1886–1965) often addressed thiattheme in her research works. This article aims to conduct a detailed analysis of the main propositions presented in Woitinskaya's manuscripts. Some of her texts are based on the theory of style and a number of theses by its authors and followers. Woitinskaya focuses on the principles of style formation in the arts. The ways to arrange the space in the arts are regarded as the most important characteristic of style. Woitinskaya also introduces a new term — “aesthetic space” — for that special category. The author of this article studies key elements of Woitinskaya’s conception of style and analyzes them on the basis of her interpretation of European art theory, which was described in her papers “Wölfflin”, “Semper and Riegl”, and “Franz Wickhoff”. Studies of these manuscripts are rather important as they may result in the discoveries of new aspects of many-sided biography of Woitinskaya; furthermore, her ideas allow to demonstrate the range of issues and problems which Russian Art theory of the 1920s tried to solve.

Keywords: Alois Riegl , Gottfried Semper, Heinrich Wölfflin, theory of art, European painting, form, space, style, Nadezhda Woitinskaya, Franz Wickhoff

DOI: 10.7256/2454-0625.2017.8.23756

Abstract: This article identifies characteristic features of choral music in relation to poetry. The purpose of this article is to review the specifics of the synthetic vocal-poetic form, identifying the constants of the relationship of the word with the musical material, in the analysis of the semantic presence of the text in a musical context and their influence on the content of the musical opus.The subject of research is the specific construction and organization of choral music. The study is based on the method of comparative analysis of musical and poetic rhythm. The author analyzes general mechanisms of synthesis of music and poetry in the choral works. Based on the poem by Mikhail Lermontov "In the Northern Wilderness", the author analyzes peculiarities of the rhythmic techniques of the embodiment of the poetic text, the figurative significance of the formulas emerging in the context of expressive means in the choirs by S. I. Taneev, S. V. Rachmaninoff, and N. A. Rimsky-Korsakov. The research methodology involves structural and rhythmic analysis of the musical text in which the poetic text is analyzed from the point of view of differentiating the meaning and role of music. The author analyzes the concept of "means of expression" and "music form" and proves the thesis that the dialectical relationship of word and music at the compositional level defines a holistic artistic image of choral music. The findings of the research can be used as practical recommendations on the content of the work in part poetic and musical analysis of choral works.

Keywords: choral work, synthesis, musical form, rhythm, interaction, music, poetry, analysis, poem, versification

DOI: 10.7256/2454-0625.2018.1.25161

Abstract: In this article Balash presents an analysis of the term 'originality' in the work 'The Originality of the Avant-Garde and Other Modernist Myths' (1985) written by an important American theorist and and art critic Rosalind E. Krauss. The rationale of the topic is caused by the fact that there is a need to 'expand the scope' of the conceptual analysis and terminological framework of the theory of art and analytics of artistic culture. At the same time, this is practically the only work in which the problem of originality is defined as the corner stone for foreign artistic epoch of the late XXth - early XXIth centuries. The need to identify numerous art objects in modern artistic practices which originality is difficult to be defined using classical methods of stylistic and culturological analysis defines the rationale of the research and appealing to Rosalind Krauss' methods. For the first time in the academic literature the author defines and analyzes the connection between views on originality in Krauss' concept and originality as a source and truth of Martin Heidegger's philosophy. Results of this analysis are important because Martin Heidegger's concept of originality is prevailing for modern culture.

Keywords: postmodernism, modernism, source, true, copy, prototype, originality, authenticity, art object, Rosalind Krauss

DOI: 10.7256/2454-0625.2019.2.28862

Abstract: Paratheatrical experiences of the 1970s by Jerzy Grotowski boosted the development of anthropological theatre in modern Polish art. Based on the theory and methodological principles of cultural anthropology, in modern theatre studies, there are two equal terms: E. Barba's theoretical theatrical anthropology, which is based on the study of the body of an actor at the time of performance in European and Eastern theatrical forms, and J. Grotowski's practical anthropology, creating ritual actions in order to recreate the pre-theatrical forms of interaction between the actor and the viewer. The research methodology is based on the basic terminology of cultural and theatrical anthropology, a historical approach and comparative analysis are used. The brightest followers of a paratheatrical period of Grotowski work are searching for the new philosophy of space. In paratheatre, Grotowski himself relies on the concept of "memory of the place", creates a process of unity of an actor and a viewer-participant with the help of historical context of the place of action. In The Gardzienice Centre for Theatre Practices V. Staniewski attempts to create a unified place and time of action for the actor and the viewer with the help of reconstruction of the syncretic model of the performer's existence. In Chorea Theatre T. Rodowicz immerses the viewer-participant in the polemic space of discussion after the performance. "Wegajty" Theatre is as close as possible to the syncretic model of the complicity of the performer and viewer-participant through work with the fabric of the religious ritual in the space of the church. The modern Polish anthropological theater tries to prove and implement in practice a new way of participation of the performer and the viewer in the space of a single theatrical and ritual action by recreating the syncretical awareness.

Keywords: syncretical awareness, viewer-participant, cultural anthropology, “memory of the place”, performer, actor’s skills, ritual space, paratheatrical experiences, anthropological theatre, theatrical anthropology

DOI: 10.7256/2454-0625.2019.7.30192

Abstract: The article deals with features and problems of a folk song existence in modern domestic information space. A folk song transition, realized in recent decades, from everyday forms of existence to stage and information ones, determined the transformation of methods and conditions of its spread, including the ones based on innovations introduction. The article presents a general overview of the Russian media structure, the degree of impact and audience coverage by modern media. On the basis of such indicators as consistency, frequency, the volume of sounding the qualitative and quantitative side of presence of the Russian folk song in the information field of television, radio, printed editions, and the Internet is revealed. The main method of the study is the analysis of statistical information given in the branch reports of the "Federal Agency on Press and Mass Communications of the Russian Federation", 2014-2017, the data of a number of sociological studies, the analysis of legislative acts relating to television and radio broadcasting, the analysis of the television and radio programs, printed publications, and Internet content. The author concludes that in modern Russian information a folk song space occupies a rather weak position, and the task of preserving and promoting folk songs as a cultural heritage requires the purposeful organization of the given process by means of modern mass media.

Keywords: internet, radio broadcasting, television, media, mass media, information space, cultural values, printed publications, folk song, broadcasting

DOI: 10.7256/2454-0625.2020.3.32432

Abstract: The object of this research is fashion design as one of the new directions in design. Design is constantly developing due to broadening of its area of application and people demonstrate new ideas and demands. The subject of this research is the conceptual-terminological apparatus of fashion design. The author reveals the content of the new concept of “fashion design” that reflects vast proliferation of design activity generated by fashion, including costume design, fashion magazines, magazine covers, fashion illustrations, fashion albums, advertising of fashionable brands, etc. The foal of research consists in systematization of sketchy theoretical data on fashion design as a new trend of design. The scientific novelty consists in interpretation of the term “fashion design” and determination of its role within the structure of contemporary design. The conducted research allows identifying close connection of this concept with costume design and graphic design. The presented materials can be used in teaching professional disciplines of “Graphic Fashion Design” and “Project Design” to graphic designers and fashion designers. The research results found application in educational process of future designers in Kemerovo State Institute of Culture.

Keywords: for-sketch, model sketches, fashion illustration, graphic design, costume design, fashion, design, fashion design, creative sketch, advertising graphic sketch

DOI: 10.7256/2454-0625.2020.7.32827

Abstract: The object of this research is a totem symbol in decorative tradition of the peoples of pre-Columbian America. The subject of this research is the images of jaguar in the art of the Aztecs of Mesoamerica. The images of a human and jaguar are captured on the metal, stone and clay artifacts of pre-Columbian civilizations that are available to the public in Mexico City National Museum of Anthropology, Peruvian Museum of the Nation in Lima, Metropolitan Museum of Art in New York, and Smithsonian National Museum of Natural History in Washington, D. C. The research methodology is based on compilation of the results of fundamental research of the leading scholars of North American School of Anthropology. The article conduct a general systematization and brief analytics of scientific records on the specificity of Mesoamerican decorative tradition of totem symbols throughout an extensive period of time: 1500 BC – 400 AD (Olmec Civilization), III century BC – VII century AD (Teotihuacan Civilization), 900 BC – 200 AD (Chavín Civilization), 750 BC – 100 AD (Paracas Civilization), 2300 – 1200 BC (Kotosh Civilization), 1250 – 1470 AD (Chimú Civilization). The presented materials substantiate the thesis that jaguar as a totem symbol carried out the functions of unification and identification of ethnoses of Mesoamerica, reflecting relevant sociocultural trends at various stages of anthropogenesis. The novelty of this work consists in scientific systematization of the facts that the nuances of fusion of the images of human and jaguar in art objects of Aztec culture reflect a harmonious or turbulent frame of mind in pre-Columbian era.

Keywords: Harmony, Symbol, Totem, Archaic, Anthropology, Art, Human being, Culture, Conflict, Civilization

DOI: 10.7256/2454-0625.2021.3.34890

Abstract: This article examines digitalization in the context of culture and such prerequisites as building automated devices, concepts of human machinization, and projects of formalization of thinking. In this regard, particular attention is given to Leibniz's project of mathematization of thinking, as well as some other innovations ‒ construction of symbolic logic, programming, and Internet. The conclusion is drawn that digitalization is not a local phenomenon with clear boundaries, nor even a complex object, but rather an aspect and a cross-section of multiple processes and fields of life activity. Since digitalization is not reduced to the development of technical devices, but suggest the use of knowledge in various social, cultural and anthropological processes, the works on digitalization can be interpreted as pertinent to social design. The author discusses the task and object of the social project of digitalization, understanding of digitalization as a technology, distinguishing the three types of technology (narrow, broad, and sociocultural sense), sociocultural factors of digitalization, and possible negative consequences of digitalization. Moreover, from the perspective of interests of digitalization, the author reviews the concepts of building artificial intelligence and robotics; criticizes the reduction of natural intelligence, which represents a cultural-historical and social phenomenon, to artificial intelligence. The role of programming and miniaturization in construction of the machine psyche of robots is emphasized. The author claims that the project of digitalization should be correlated with the establishment of culture of of the future (“futureculture”) and work at the benefit of this culture.

Keywords: methodology, environment, intelligence, thinking, technology, design, programming, digitalization, logic, culture

DOI: 10.7256/2454-0625.2022.9.35868

Abstract: The object of the research is one of the most important issues today - the structural relations of the scientific and philosophical spheres and religion, since new communicative and ontological possibilities have appeared. The subject of the study is the separation of science, philosophy and religion, which in Modern times could not destroy the belief in a single source of knowledge, which became an organizing principle, uniting the disparate data of experimental science, which required a single goal-setting and moral attitude, justifying the meaning of the search for new types of being of matter and phenomena of consciousness. The research is organized in accordance with the structural and functional method, which allows us to correlate various disciplines of philosophy and religious knowledge with each other. The purpose of the study is the question of the relationship of philosophy and religion in modern Russian self-consciousness, based on the attitudes of philosophical thinking and religious worldview. History shows that the thesis that scientific progress will contribute to the fact that the religious worldview will be leveled does not find support in reality. Historical fractures lead to the strengthening of religion in self-consciousness, and raises the question of the relationship between philosophical thinking and religious worldview in a new way.The objectives of this study are: to prove the position that religion can be called one of the modern modes of consciousness; to show how the philosophical attitude to reality enters into a dialogue with religion with a new force – it is forced to self-determine in relation to the mythological and intuitive religious worldview; the relationship of philosophical thinking and religious worldview gives rise to new meanings which must be taken into account in modern philosophizing.The scientific novelty of the research is that the syncretic type of thinking is shown on the example of Russian religious philosophy, which activates the philosophical understanding of the world and elements of the religious picture of the world.

Keywords: philosophy, thinking, dialectics, religion, science, secularization, worldview, consistency, existence, entity

DOI: 10.7256/2454-0625.2021.9.36273

Abstract: This article analyzes the concept of “ethnic painting”, Russian and Western sources on the topic, as well as controversial approaches towards its interpretation. It is established that the Russian science avoids using the concept of “ethnic painting” to ambiguity of its content. The most commonly concepts in sphere are “national art”, “ethnocultural manifestations”, “territorial-ethnic nature of painting”, “national peculiarities”, and “national distinctness of art schools”. In Western literature, the concept of “ethnic painting” is attributed to both, folk art and professional art. Parallel is drawn between the concept of “national culture” and “ethnic culture”. The research is based on the painting of Circassians (Adyghe) of Russia and Turkey. Using the methods of comparative studies, comparative typology and art analysis, the article explores the works of contemporary Circassian painters of Turkey and Russia, revealing the specificity and universal characteristics of their paintings. The works of professional artists, which meet certain characteristics, should be referred to as “ethnic painting”. The author describes the key attributes and functions of plastic arts that allow classifying it as the concept of “ethnic”: 1) figurative characteristics (visualization of mythological and epic heroes and plotlines, ritual and common culture); 2) translation of ethnic mental characteristics and values; 3) design of ethnic identity and solidarity by means of painting; 4) introduction the art of painting not only to the elite, but other social classes as well; 5) usage of public instruments for proliferation and popularization of painting through education and enlightenment; 6) comprehension of ethnic art as a crucial element of national art; 7) development of ethnic art through various contaminants (ethnocultural content and modernist form or technique; modern content in the traditional genre or form).

Keywords: religious themes, ethnic identity, Circassians of Turkey, Circassians of Russia, Circassians, national art, ethnic art, ethnic painting, conceptualism, artistic connections

DOI: 10.7256/2454-0625.2023.3.36694

Abstract: The subject of this study is the analysis of the exhibition activities of the Msterskaya and Kholuyskaya artels of lacquer miniature in the 1930s - the period of the origin and formation of these famous crafts of Russian folk culture. The purpose of this article is to show the beneficial role of the Soviet state in the development of folk art by the example of the participation of these crafts in Soviet and foreign exhibition projects. The author compares the events of the 1930s with the state of lacquer crafts in modern Russia and suggests using the Soviet experience of informational and organizational assistance to lacquer miniature crafts to overcome their current state of crisis. Using the method of comparative analysis, as well as the historical and systematic method of research, the author shows the success of the exhibition practices of the Msterskaya and Kholuiskaya artels in the 1930s, as well as the support provided to lacquer crafts by the state authorities of the USSR. The scientific novelty of the study consists in an attempt to overcome the prevailing view of the current crisis state of Russian lacquer crafts as a result of only insufficient "innovative" leadership on the ground. The author's position is that the reason for such a crisis state should be sought, first of all, in the general situation of the lack of real support for Russian lacquer crafts from the state, which is the main conclusion of the article.

Keywords: Kholui, Mstyora, Kholui lacquer miniatures, Mstyora lacquer miniatures, folk art crafts, Russian lacquer miniatures, Russian folk art, innovation, exhibition, Soviet state

DOI: 10.7256/2454-0625.2022.1.37239

Abstract: This article is part of the extensive research of value characteristics of IT community and their potential for innovative development. In view of this, the author examines the problem of determination of the modern cultural situation and, as a result, deduction of the criterion that establishes what “modern” is. Based on the previously acquired conclusions (according to which, such criterion is the consideration of irreducible multiplicity, and the major risk is the loss of autonomy by individuals), the author aims to find the model of subjectivity that would be simultaneously multiple and autonomous. The search for the model that meets such criterion is carried out through referring to the control technologies developed within the framework of third-order cybernetics. The novelty of this article consists in peculiarity of the approach towards solution of the set task: the question in the form and method of determination of modernity has been first raised and solved within the framework of the Russian academic philosophical community at the previous stage of research, which determines the relevance at the current stage as well. Comparison of the developments of Russian and foreign authors reveals the parallelism between the development of cybernetics and psychoanalysis; demonstrates the conceptual intersections of the third-order cybernetics and schizoanalysis; establishes the conformity between the subjectivity of the individual and the type of organizations they are engaged in. The article offers the concept of “dividual” as a model suitable for solution of the set task. The conclusions is made that the existing potential of the IT community for modernization is neutralized in the context of transition towards the hierarchical structure of the organization.

Keywords: Autonomy, Body without Organs, multiplicity, Gilles deleuze, deconstruction, Jacques derrida, Modernity, subjectivity, Postmodern, Virological epistemology

DOI: 10.7256/2454-0625.2017.2.21447

Abstract: In her article Fetisova analyzes formal content-related and genre innovations of the 'sixties' poets through ontological prerequisites for developing the neoacmeism philosophical platform based on the example of the creative work written by a great representative of that movement, Bella Akhmadulina. The author analyzes particularities of neoacmeism with reference to traditional acmeism and differentiates between literary groups and chronological frameworks of the 'new acmeism' as well as describes ontological dominating ideas in the creative work of the 'esoteric circle' of the sixties neoacmeists. The author also gives a definition of genre innovations and traces back specific features of cross-cultural communication aspects of the traditional and 'Renaissance' acmeism. As a meaning-forming and genre element of the neoacmeism poetic system the author views not only such categories as space and time but also their unique poetic mythology which core is the creative and artistic 'transformation' of the aesthetic 'Akhmatova's myth'. In addition, the researcher also makes an attempt to carry out an integral comparative analysis of acmeism and neoacmeism to their important 'prototext', Dante's The Divine Comedy. The topicality of the present research is caused by the fact that the author applies a comprehensive approach to the analyzed poetic system. The understudied phenomenon of neoacmeism is viewed as an integral 'neoacmeistic text' characterized by the stage-by-stage accretion of genre 'valences' (L. Kikhney's term) and capable of producing identical 'extra-textual' (Yu. Lotman's term) literary artistic system that functions based on the logical of the author's message as Anna Akhmatova offered in her 'The Poem Without a Hero' ('I am writing a mirror letter...'). The integral approach to studying acmeism and neoacmeism also requires the use of all the variety of existing methodological practices as well as integration methods from two or more disciplines. The methodological novelty of the research is caused, first of all, by the fact that the author offers a concept of the integral 'neoacmeistic text' or metatext. For the first time in the academic literature neoacmeism as an art movement (polyphonic system capable of creating the space of interpretations) is being analyzed in terms of the logic of the author's integral message and internal connections between elements of the aforesaid system. The comparative method and the method of semantic reconstruction of a poetic text combined with a hermeneutical circle procedure complete one another in this research. The author makes a conclusion that it is possible to trace back not only the synthesis of literary genres such as epos, lyrics and drama but also gradual complication of cultural 'codes' and genre 'valences' (L. Kikhney's term) that have complex dialogical and mutual substitutive relations in the poetic system and dynamic structure of the integral 'neoacmeistic text'. In the 10th - 11th centuries there was a cyclic transformation of philosophical and ontological paradigms of the past into the semantic discourse of the paradigms of the present. However, neoacmeism (or 'Russian Renaissance' contains some kind of a mental code of the Russian culture in its structure, the code that connects very different poets within one literary movement.

Keywords: semantic poetics, neoacmeism, acmeism, Russian Renaissance, Divine Comedy, genre valence, plot, Dantean numerology, lyrical heroine, literary context

DOI: 10.7256/2454-0625.2018.7.26899

Abstract: In her research Yureneva analyzes the abundance of museums in Russia and European countries as well as attendance of Russian and European museums. Within the framework of this article, the object of the research is the museums of Russia and Europe and the subject of the research is their quantitative measurement, i.e. the number of museums and the number of attendances. Unbiased information about the development of Russian museum not only at the national level but also in comparison to other countries is important for strategic targetting and developing the cultural policy. The empirical basis of the research implies data of the Russian Federal State Statistics Service and European Group for Museum Statistics. Statistical informatin is analyzed using the tabular method and graphic presentation. The novelty of the research is caused by the fact that for the first time in the academic literature data about Russian museums is presented in comparison with European statistical values. Statistics in Russia and the majority of European countries have been collected on the basis of very different definitions, methods and classifications, thus data presented in tables and graphs are of preliminary nature. To develop the strategy of museum development in Russia it is necessary to carry out a full-scale record of all existing museums disregardidng their departmental affiliation, ownership and status of a legal entity.

Keywords: sociology of culture, social statistics, cultural statistics, Russian museum statistics, European museum statistics, museum statistics, visits to museums, number of museums, museum, cultural policy

DOI: 10.7256/2454-0625.2019.5.29466

Abstract: The subject of the study is the consideration of the connection between design and arts and crafts objects, the necessity of correct organization of interior space, the creation of a specific atmosphere which will fit a worldview, social status and internal state of the consumer's personality. A clear tendency of interior transformation with the help of arts and crafts objects which combine traditional and modern view, determine the overall style of the room, and carry a special emotional load was detected. The emphasis is placed on modern enamel as a process of active renewal of one of the oldest forms of art, in which knowledge of the craft, its technical heritage and specificity are mandatory for the artist of arts and crafts. In the course of the study, general scientific methods were used, such as systematization of art criticism literature and specialized sources; synthesis and generalization in the process of comparison and integration of principles, ideas, and results of domestic and foreign studies; typological method for the analysis of objects of decorative and applied art; method of classification and method of comparisons for the consideration of objects of applied art; method of stylistic analysis for determination of the visual features of the analyzed objects. The main conclusions of the study are the establishments of the fact that in the creative process the use of enamel helps to understand and synthesize traditional technologies, artistic experience, and new stylistic trends. This approach to work in the art of enamel makes it an element of design and form, equivalent to metal. In this case, both volume-spatial objects and planar compositions cannot exist without it, since it serves as the color, conceptual or compositional dominant of the work.

Keywords: hot enameling, interior, design, author's work, coloristic decision, enamel, art object, arts and crafts, room style, dominant works

DOI: 10.7256/2454-0625.2019.11.30832

Abstract: The subject of this article is a review of the development of cinematography in the Kyrgyz Republic from the beginning of 2000’s to the present. The arrival to mass digital technologies marked the emergence of the various film genres, transition from the “routinization” towards perfection of the auteur’s art. The main goal consists in examination of the main trends in development of the modern Kyrgyz cinematography using the historical-culturological analysis of artwork and interpretation of the content of modern national narrative films with the detailed description of storylines. The following screen works of the prominent film directors found their audience and recognition: “Ayil Okmotu” (The Village Authoritieis), “Boz Salkyn” (Pure Coolness), “Svet Ake” (The Light Thief) by Aktan Abdykalykov; “Everything is OK” by Akzhol Bekbolotov; “Kurmanjan Datka” (Queen of the Mountains) by Sadyk Sher-Niyaz; “Sayakbay “ by Ernest Abdyzhaparov. The author determines the development trends of the modern Kyrgyz cinematography, such as appearance of the tinsel cinema, “routinization” of films in the early 2000’s, development of short films, occurrence of the theme of self-identification. The analysis of their peculiarities defines the scientific novelty of the article.

Keywords: author's cinema, self-identification in films, domesticization, non-conformist cinema, popular culture, directing, domestic cinematography, commercial cinema, author's art, short footage

DOI: 10.7256/2454-0625.2019.12.27538

Abstract: The aim of this research is to analyze peculiarities of Igor Savinov's compositions for orchestra band. Shumilov has chosen to study Igor Savinov's works because this composer has made a great contribution to the development of Russian music and instrumentation for brass band. His compositions cover a lot of genres of brass music, march, ordre, fantasy, rhapsody, overture, poem, ballad, concert and others. Savinov composed works of each genre and accumulated all the best features of brass music scores. Savinov's works have been popular with the audience and concert performers. The method of studying orchestra writing is based on the experience of analysing particularities of orchestra texture, expressive and shape-generating role of timbre and interpretation of orchestra means. The main research goals were to give aesthetical evaluation of Savinov's compositions for brass band, to describe genres and styles of his themes, peculiarities of his tembre and quality changes in the timbre texture, to discover typical features of Savinov's orchestra writing in interpretation of instrumental means of brass orchestra, to understand succession and the use of orchestration principles in Russian and Soviet classical music. For the first time in the academic literature Shumilov analyzes the problems of modern instrumentation for brass band in terms of Igor Savinov's individual style and overall evolution of orchestra music since the 1980s. This allowed to define individual features of the composer's orchestra writing.

Keywords: style, composer's creativity, orchestral performance, brass band, brass music, orchestration, orchestral writing, orchestral texture, timbre, coloring

DOI: 10.7256/2454-0625.2019.6.29837

Abstract: The subject of the study is inter-theatrical communications between China and the USSR of early-middle XIX century, Chinese theatrical performances of 1950s-1960s in Soviet theatres. The aim of the study is to conduct a brief survey and determine the key directions of the interaction of Soviet and Chinese theatrical art; to determine the ratio of the contribution to the development of Soviet and Chinese theatrical art. Citizens of the Soviet Union got acquainted with life in China not only through the media and scientific publications but also through the heritage of Chinese dramatic theatrical art. All this indicates that in the 1950s-1960s the Chinese drama theatre had really wide popularity among Soviet audiences. The basis of the study - works by Soviet and Chinese people of art, culturologists, theatre critics, and publicists. In the study, the analysis of the interaction of Soviet and Chinese theatrical art and the process of popularization of Chinese plays in the Soviet Union in the 1950s-1960s is carried out. Author's special contribution to the study of the topic is the definition of the main ways of inter-theatrical communication between China and the USSR of the early-middle XIX century. It is noted that in the Sino-Soviet cultural exchange there is a one-sidedness of the process. This one-sidedness is noted in the fact that Soviet culture had a much greater spread in China than Chinese culture in the USSR. The demand for Chinese theater in the middle XX century in the USSR was associated with the reinterpretation of works of Chinese drama by Soviet directors, their productions on the Soviet stage.

Keywords: Drama, Performance, Play, Chinese drama theater, Chinese dramatic art, Spectator, Dramaturgy, Director, Culture, Soviet drama theater

DOI: 10.7256/2454-0625.2020.2.30650

Abstract: The subject of this research is the graphic heritage of the prominent Venetian master of the XVIII century Giovanni Battista Piranesi. The goal consists in examination of the role of Piranesi’s heritage in history of art and architecture. The author demonstrates the key milestones of his creative path, reveals the fundamental conceptual questions and themes of his graphic compositions. The defining influence of the depicted architectural compositions of Piranesi on the formation of one or another architectural object is viewed on the particular historical examples. The main research method consists in drawing parallels and designation of continuity of architectural ideas between the works of Giovanni Battista Piranesi and such architects successors as Joseph Paxton, Antonio Sant'Elia, Tony Garnier, Pietro di Gottardo Gonzaga, Ivan Leonidov, etc. The scientific novelty and practical importance of the article lies in tracing the trajectory of influence of the ideas, themes and architectural-spatial solutions of the great aquafortist upon his contemporaries and all following generations of architects. Particular historical examples demonstrate the defining influence of the depicted architectural compositions of Piranesi on the formation of one or another architectural object, as well as the emergence of famous conceptual architectural projects (including projects-utopias) in historical retrospective until the present time.

Keywords: etching, picture, architectural composition, spatial solution, architectural fantasy, Piranesi, architecture, Graphics, project, architect

DOI: 10.7256/2454-0625.2016.1.17452

Abstract: The object of this research is the category of Maqam, which is ambiguously understood in the process of the description of "classical" music traditions of the Muslim East nowadays. To identify the genesis of this category the researcher has involved historical data about mode systematization in the medieval culture of the Islamic civilization (VII-XVII century). The researcher has also introduced the concept of the three stages in the development of music in the Islamic civilization, defined by the birth of the literary languages (Arabic, Persian, Turkish) with the domination of Iranian culture in the XI-XIVth centuries. Features of musical creativity of Barbad, Ibrahim al-Mawsili, Safi ad-Din, Qutb ad-Din and others are considered; these musicians took part in the formation of the modes. The analysis of musical terms, which describe the medieval modes, their names, nomenclature, helps to understand the following: the term Maqam began to be used not in Arabic, but in Persian and Turkish treatises after the XIVth century, along with similar terms (shadd, angam, parde, dawr) designed for determining interval patterns – scales. However, the category of Maqam/Maqamat is not analogous to the category of "mode"/"folk modes", it expresses the essence of a new civilization, the disclosure of which contributed to the system of modes (12 shudud and 6 avazat) developed in the XIII century by Safi al-Din. This system was based on the idea of “ta’sir” ("ethos") – emotional impact of twelve modes (not single tones) on the person and the character of the nations. Anthropopathetically the character of this teaching connects music with astrology and therapy, and develops the concept of musical art that was enriched with esoteric experience with the help of the widespread term 'Maqam' (meaning 'place' or 'station'), which was introduced into the Sufi teaching, therapeutic and musical treatises. For musicians the Maqam concept has become rather the basic concept for determining the place of music in the culture of Muslims than the theoretical category to signify a mode. The main research methods used include historical and cultural analysis. These methods allow to define peculiarities of the Muslim culture as well as to develop an adequate understanding of Muslim musical art when analyzing historical data and facts about music and theoretical interpretation of authentic musical categories which refer to the development of the ideas about modes in general and Maqam in particuylar. For the first time in the academic literature Maqam is studied from the historical point of view and as a an object of musicological research. The researcher also describes the later genesis of that category in musical treatises and analyzes its theoretical concept in the writings created before the XVth century. These findings provide an opportunity to study the contemporary regional (national) musical events associated with the phenomenon of Maqam and to make the comparative studies in a more adequate way.

DOI: 10.7256/2454-0625.2019.8.30547

Abstract: The object of the research is the relationship between theatre and audience at the turn of the XIXth - XXth and XXth - XXIst centuries. The subject of the research is the influence of transient processes in the society and theatre on perception peculiarities. In the course of the analysis Ivinskikh has discovered the dependence of perception on the historical background, scenic means, and recipient's life and aesthetic experience. The author of the article analyzes how, why and depending on what conditions the role of theatre for the society and the status of the artist had been changing, what changes in the theatre life had been happening as a result of overall historical reasons, what changes were immanently conditional and what changes were defined by the cultural policy. In his research Ivinskikh has used comparative and receptive approaches combined with the dialogics principles offered by M. Bakhtin and A. Ukhtomsky's idea of the 'dominant' and 'worthy interlocutor'. As a result of the research, the author of the article makes a conclusion that problems of artistic reception are different by their nature. Changes that had happened since 1917 were caused by the cardinal transformation in the structure of the audience that were unprepared to perceive theatrical performances. Changes and the breakup between theatre and audience in the post-Soviet period, especially at early 1990s, happened as a result of changing values of both artists and audience. The researcher discovers that the dominating orientation at self-affirmation and individualism in many causes blocks the opportunity of dialogue. The novelty of the research is caused by the fact that the author offers to overcome contradictions through interaction and orientation at alternative dominant, i.e. satisfaction of essential needs of the audience, instead of antagonism.

Keywords: cultural policy, perception of art, principles of Dialogic, receptive approach, aesthetic experience, comparative approach, alternative to the dominant, status of the artist, audience, theatre

DOI: 10.7256/2454-0625.2020.8.33692

Abstract: The works of F. A. Stepun are an important phenomenon in the early 1930s émigré discussion on personal freedom. Despite a relatively low interest towards his legacy and persona, many of the ideas and thoughts are currently gaining social significance. Using the method of textological analysis and comparative analysis, the author demonstrates that the formulated by F. A. Stepun idea of the trinity of personality, truth and life can be interpreted as the development of anthropological views upon the question of personality in the context of Russian liberalism. The succession of Russian liberal thought is evident in fact that he understands freedom from a creative perspective, as well as in the indissoluble connection with truth. F. A. Stepun sees freedom as an essential condition for personal growth, realization of the creative beginning, and declares the trinity of freedom, truth and personality, which are tightly intertwined and transmit ontological saturation to one another. Personality is not viewed outside of creative pursuit, as there is no freedom other than creative freedom. The creative beginning in a human is perceived as divine and cosmic beginning, attributed as the absolute values and meanings. At the same time, the philosopher has always believed that personality is something greater that just individuality. However, in the ultimate creative sense, it manifests in fate, which reveals the dynamism of personal becoming, depicts it in motion and development.

Keywords: communicative ideal of personality, fate, anthropology of personality, creative freedom, threefold unity of personality, F A Stepun, Russian liberalism, truth, Christian worldview, individuality

DOI: 10.7256/2454-0625.2016.1.67324

Keywords: Arabic, Islamic civilization, Iranian, treatises, Middle East, maqam, Study Group maqam, mode system, civilization stage of music, medieval

DOI: 10.7256/2454-0625.2017.5.20142

Abstract: As a socio-cultural phenomenon, Old Believers have been attracting attention of many religious activists, politicians, economists, historians, etc. However, the main contribution of the representatives of this ethno-confessional tradition to the general Russian culture has not been defined yet. According to the author, this historiographical gap can be covered by analyzing various discourses about studying Old Believers. Based on the author, there has been four approaches to studying Old Believers: political, ethnographical, philosophical and scientific. At the turn of the 17th - 18th centuries Symeon of Polotsk, Dimitry of Rostov and others formed the political discourse. The main feature of the political approach is that it first it had a negative nature but then started to attain positive attitudes to Old Believers. With the development of the liberal movement in the 19th century, Old Believers were often perceived as the bearers of true RUssian culture on the one hand (which brought them close to Slavophiles) and fighters against the unfair state government on the other hand (this is the way Old Believers were viewed by Westerners and revolutionists). When the academic community started to study traditions of Old Believers in the 19th century, the ethnographical discourse was formed and later the philosophical discourse developed. Archeographical expiditions played an important role therein. Moreover, in the 20th century Old Believers started to actively participate in the research process themselves. At the present time the academic historiography cannot be imagined without Old Believers and their tradition. In this research Bogdanov provides examples of the influence of Old Believers on the origin or these or those cultural works and development of the scientific and philosophical thought. Appearing at different times, discourses influenced one another and all four discourses exist today, too. According to the author of the article, analysis of various discourses about studying Old Believers will allow to better understand their contribution to the development of Russian culture.

Keywords: intellectuals, understanding, discourse, history, philosophy, politics, Russian culture, Old Believers, expeditions, tradition

DOI: 10.7256/2454-0625.2021.1.34755

Abstract: This article reviews the challenges and problems of modernity, as well as discusses the ideas and vectors for their solution. The first problem is demotes as the crisis of modern culture and the need to preserve life on the planet. It is associated with the nature and development of European sociality, which generated the ecological crisis, pandemic, and other problems. The author argues that the culture of modernity ceases and is about to be replaced by another culture (future culture). The second problem delineates “social theodicy”, i.e. development of attitude towards increasing evil. The main aspects of this phenomenon are discussed. The third problem pointed by the author, is the problem of salvation and righteous life. In this regard are examined two different models that determine cultural life: semantic view of life of the entire society, and scenarios of individual life. Comparison is conducted on the scenarios of individual life of the Middle Ages and Modern Age; the uncertainty of the latter is underlined (if not readiness for Parousia, then what: engagement in implementation of the project of modernity, but pursuing which purpose – enrichment, success, happiness, fulfillment of duty?). The pattern of the individual scenario of future culture is outlined. Within its framework, a person must solve the following dilemma –on the one hand, human is finite and mortal, while on the other, as a human of history and culture – infinite and immortal. The solution to this dilemma is offered. In conclusion, the author discusses the anchors that the person of the transitional era can rely on: critical and reflexive thinking, family ties, identity, creativity and art.

Keywords: crisis, modernity, solution, individuality, personality, culture, problems, challenges, present, future

DOI: 10.7256/2454-0625.2022.7.38340

Abstract: The object of the research is the culture of dialogue, its content and normative components, and metaphysical foundations of the culture of dialogue. Various approaches to understanding the nature of dialogue in the historical tradition, starting from antiquity and ending with modernity, are considered in detail. In the course of the analysis, special attention is paid to identifying ontological prerequisites and epistemological attitudes in the most significant theoretical approaches to understanding the nature of dialogue. Productive methodological ideas of phenomenology, "philosophy of dialogue", theory of communicative action are revealed. Special attention is paid to the analysis of the heuristic and analytical possibilities of the concept of the "Other" as the basis for recognizing the initial equality of the participants in the dialogue and the formation of a mindset for the "peaceful" resolution of differences. The role of the culture of dialogue (in the form of recognized norms and compliance with the rules of interaction) is shown as an important component of mutual understanding and tolerance. The peculiarity of the reception of the ancient approach to dialogue in the non-rhetorical project of the twentieth century is revealed. It is shown that the normativity of one of the most significant modern approaches to the construction of the theory of argumentation – pragma-dialectical, has roots in the ancient tradition of dialogue. As one of the important conclusions, it is substantiated that the ideal model of "critical discussion" developed at the Belgian school of pragma-dialectics can serve not only as a methodological basis for the modern theory of the culture of dialogue, but also as a guide in its organization and structuring, creating good opportunities for reaching a possible consensus. The novelty of the research lies in identifying the philosophical and ideological foundations of the concept of "critical discussion" and the methodological significance of the "moral code", the observance of the "commandments" of which leads to an increase in the culture of dialogue as a necessary condition in the search for common meanings, without which it is impossible to overcome the high conflictogenicity of modern society.

Keywords: the moral code, critical discussion, Another, tolerance, pragma-dialectics, metaphysics, culture of dialogue, dialogue, consensus, subjectivity

DOI: 10.7256/2454-0625.2017.7.22261

Abstract: The subject of the author's research is the secularity phenomenon in the history of culture. The purpose of the research is to assess the axiological status of secularity in Russian cultural tradition applying the historical approach. The relevance of the research is proved by the urgent problem of implementation of religious courses in the modern basic and general education in the 21st century. The author analyzes the status of secularity during different historical eras and reveals the impact of this phenomenon on the system of Russian education describing contradictory characteristics at each historical stage. The main research method applied by the author of the article is the historical and cultural analysis of the status of secularity in Russian traditio at different periods. As a result of the research the author draws a conclusion about the unique option of culturological and theological approaches to teaching religious disciplines in the modern system of education. The results of this research can be useful not only for professional culturologists, teachers and psychologists, but also for parents who are concerned about this problem.

Keywords: religiousness, problem, axiology, morals, value, education, axiosphere, culture, secularity, spirituality

DOI: 10.7256/2454-0625.2020.12.34492

Abstract: The subject of this research is the phenomenon of conceptual metaphor in the works of Michel Houellebecq. Leaning on the cognitive theory of metaphor, the author traces the methods of conceptualization of “new identity” within cultural identity of a modern Frenchman. The article highlights the metaphor of “home”, and reveals the methods of conceptualization of “new identity” (“new” France as a “new home”) in its relation to the cultural tradition (“old” France as an “old home”). M. Houellebecq's criticism of the political myth of “pan-European identity” is followed on the basis of the metaphor of “home”; the reasons of Houellebecq's objections against the simplified division of the levels of such identity into local, national, and pan-European are determined. The goal of this research lies in identification of various aspects of cultural reality of the “new” France reflected in the works of M. Houellebecq using the metaphor of “home” (sorrows of the object of threat on disruption of cultural tradition, unification of lifestyle, and crisis of values). The relevance of culturological analysis is defined by the ability to observe the process of conceptualization of “European identity” in French artistic culture as a moment of cultural dynamics. Reference to the texts Of M. Houellebecq revealed the cognate concepts used for realization of the metaphor of “home” (“old France”/ “old home”, “castle”; “new France” / “hotel”, “high-rise building”, “tower”, ”poultry farm”); as well the predicates that disclose certain aspects of conceptualization (“empty”, “old”, “confined”, “rural”, “destroyed”, “awful”, “disgusting”). The novelty lies in substantiation of heuristic potential of consideration of the image created By M. Houellebecq as a cultural metaphor, which not only reflects social moods, but also designs cultural reality. “Home” manifests as the antithesis to the actual feeling of homelessness on the background of achievements of industrial civilization; it becomes a slogan that fills “emptiness” of everyday existence with cultural meaning. The main result is the substantiation of the writer's contribution to the development of conceptual model of identity of a modern Frenchman using the metaphor of home”.

Keywords: crisis, cultural continuity, Michel Houellebecq, metaphor of home, conceptual metaphor, сultural meanings shaping, culture of France, United European home, old France, new France

DOI: 10.7256/2454-0625.2020.4.32341

Abstract: The object of this research is editing as an artistic phenomenon in the Russian musical culture of the late XX century. The subject of this research is works of the prominent Russian composer Sergei Mikhailovich Slonimsky. Analysis of musical texts of the composer demonstrated that editing manifests as the paramount method of creating an artistic space of his oeuvres. The main principle for this this research served the principle of historicism as one of the fundamental within national musicology, where an artistic phenomenon is viewed in unity of realization of the traditions and trends of modernity. The author comes to the conclusion that in the works of S. Slonimsky editing first and foremost is a unique principle of realization of the artistic plot, providing exclusive freedom to the composer, exposing all achievements of musical art, allowing to actively work with different cultural codes and freely transform them and reproduce most bold and artistically significant philosophical ideas. The scientific novelty consists in determination of specificity of functionality of the system of expressive means of S. Slonimsky in the context of editing. In the course of research, the author also formulated a number of questions requiring further scientific analysis and new research interpretation.

Keywords: genre, composition, thematism, drama, polylogy, musical text, editing, orchestral thinking, composer, artistic idea

DOI: 10.7256/2454-0625.2018.10.27682

Abstract: The subject of the research is the Russian cabaret. The article presents a brief review of the creation and development of the cabaret in Russia. She pays special attention to cabaret as a new form of performance that had become an essential element of the Silver Age entertainment culture. The origin of the cabaret in Russia of the early XXth century is viewed by the author as an inevitable phenomenon created in the era f creative unsatisfaction and search with the blossom of the philosophy of free creativity, origin of completely new forms and aethetical principals in the background. In her research Arkhangelskaya touches upon the beginnings of the genre, aesthetic peculiarities of the cabaret as the main part of the entertainment culture of the early XXth century, and tries to compare Russian and Western European tradition. The author concludes that the analysis of the history of the Russian cabaret in terms of the socio-cultural cabaret environment allows to better understand the values of entertainment culture as one of the areas of modern pop culture.

Keywords: theatrical parody, private acting club, theatrical miniature, pop-theater art, entertainment culture, Russian emigration, Silver Age, cabaret, entertainer, bohemian atmosphere

DOI: 10.7256/2454-0625.2019.11.31127

Abstract: The subject of this research is the main character of the Lars von Trier’s film “The House That Jack Built”. The author reconstructs in detail the image of the lead character Jack, reveals various traits of a villain in him, to see afterwards which of them Lars von Trier visualizes in his character. Based on the conducted analysis, the author offers the interpretation of the evil committed by Jack, as well as the image of the villain translated by Trier in his film. The modern villain becomes the central subject of research. The image of Jack was compared and verified leaning on the writings of Kant and Arendt. For the first time within the Russian research, the image of Jack is viewed in the context of the works of Kant and Arendt. It is suggested to consider him as an embodiment of kitsch. Jack reflects the mythology of Enlightenment, which manifested into the likeness of “Stalinism with a human face”, where everything can be reduced to numbers, where there is no death, and where blind order reigns disallowing outbursts of irrational and horrific.

Keywords: Age of Enlightenment, violence, movie, ethics, Lars von Trier, Immanuil Kant, Hannna Arendt, evil, banality of evil, mind

DOI: 10.7256/2454-0625.2020.10.34092

Abstract: The subject of this research is the cultural succession of decorative elements of the ethnic ornament of Sami people. In light of the migration past, the question is raised on the possibility of simultaneous assimilation and introduction into their culture of ornaments and words by the Ancient Sami population. Special attention is given to the examples of explicit concurrence of the elements. The author sets a scientific task to find the evidence of residence of the Ancient Sami people in the territory of northwest of Kostroma Region in Russia from the perspective of cultural succession. The main research method consists in the synthesis of various sciences. Archaeological research alongside the data from historical records and toponymic studies allow comparing the data in the field culture and applied art. Leaning on the analysis of literature and images, the author structures the chain of logical reasoning . The acquired data give understanding of the visual expression of the regional cultural heritage and possible assimilation of the elements of decor by the people who abandoned the territory centuries ago. The result of this research consists in providing the evidence of cultural succession, determination of timeframe and geographical area with regards to assimilation of the elements applied art of other ethnoses by the Ancient Sami population. The novelty of this work lies in comparison of decorative patterns of different generations and ethnoses, and the fact of formation of the general basic culture of Sami people. The conclusion consists in detecting the presence of decorative elements of the Mari ornament in the Sami ornament based on the analysis of various sciences. This proves the succession of cultural heritage of this region throughout multiple generations.

Keywords: pattern, Merya, Mari, migration, ornament, Sami, culture, folk, heritage, continuity

DOI: 10.7256/2454-0625.2021.9.36456

Abstract: The subject of this research is the corpus of the Internet memes of the English-language and Russian-language segments of the Internet. The object is the classification of the Internet memes, the division of relevant memes into the categories on various grounds. The author explores the emergence of new methods of content creation on the Internet, proliferation of popular culture and use of the concept of post-irony, as well as reflection of the latest social and political events in memes. Special attention is given to the detailed analysis of specific examples of the internet memes and their modifications by the users: the format of meme implies variability and possible modification by any content consumer. The main conclusions lies in the highlighted and illustrated examples of the new categories of Internet memes. The author’s special contribution consists in determination of the new categories of memes: post-ironic memes; memes created and spread via TikTok platform; and memes related to the reflection of coronavirus infection and its consequences in popular culture. The novelty of this research is define by classification and description of the aforementioned categories of Internet memes, as well as by outlining the prospects for further expansion of the classification. The article employs the methods of contextual and structural analysis of the corpus of the Internet memes; determines and groups the types of meme variations; and describes the potential for their transformation.

Keywords: news occasion, media communication, media platform, coronavirus infection, TikTok, metamemes, postirony, classification, Internet meme, social networks

DOI: 10.7256/2454-0625.2019.3.29165

Abstract: The purpose of this article is to reconstruct the ideas of self-government and self-organization of the society developed by Russian philosophers of the XIXth century. To analyze the ideas of self-government and self-organization, it is necessary to study their concepts of social self-government. Russia's political system of those times needed modernization, therefore conceptual constructs of scientists and politicians were practically important and satisfied the society's need in social order and social stability. Russian philosophy of the XIXth century demonstrated special interest in self-government. Russia was going through difficult times back in those period which had certain positive and negative consequences. Russian self-government went a long way of development from the point of view of history, cultural research, theory, politics and social philosophy. The self-government system included social and historical events that satisfied the need in social order and social stability.

Keywords: Russian self-government, seventies populists, revolutionary democrats, Slavophiles, philosophical discourse, self-organization and self-government, Russia's political system, philosophy, society, cultural studies

DOI: 10.7256/2454-0625.2022.12.38319

Abstract: The main purpose of this work is to analyze the modern literature on amateur marathon running and the motivational effect that such publications give to novice marathon runners. The author pays special attention to the fact that the appearance of such literature in recent years has coincided with a general decline in reader activity around the world. This demand may be explained by the fact that the preparation of a marathon runner is very specific and requires a lot of time for training. And this feature, which consists in long-term planning, makes it an additional attractive "long-term project" in comparison with most modern tasks, which are increasingly, being short-term, perceived as a duty-passing fluidity of life. The fact that there is no similar literary activity in other sports (best-selling books based on the description of the sport as a plot basis, the presence of authors – former athletes), allows us to conclude that marathon running, becoming not only a professional sport, but also acquiring the status of an amateur, is a challenge, generating the need for constant reflection both among the authors themselves and among readers. Against the background of the analysis of the content of books and "feedback" (readers' feedback), it is concluded that the basis of the appeal and mass popularity of amateur marathons should be associated with the "culture of challenge", which is clearly manifested in the practices of understanding and development of amateur running. The culture of challenge can be interpreted from the standpoint of L.N. Kogan's value-motivational analysis of culture and understood as the realization of essential human forces.

Keywords: sports motivation, autobiography, readers, sociocultural phenomenon, methodical literature, challenge culture, literature about running, marathon, amateur running, amateur motivation

DOI: 10.7256/2454-0625.2019.2.28746

Abstract: The formation of the image of Japan nature in visual culture and transmission of this image in intercultural communication in Russia. The issue will be observed on the example of an outstanding phenomenon of modern Japanese culture - animated cartoons. It has become one of the main sources of transmission of cultural images in the "other" culture. Transmitted images of nature are significant for Japanese culture and have historical significance, especially Sakura and Mount Fudji. The problem of the research will be considered based on these examples. The study used research methods such as collection and analysis of information on the Internet, as well as abstraction. The study found that:-images of nature that are important for "their" culture are transmitted on a first-priority basis;-visual examples of art are of great importance in the dissemination of images of nature due to the "mass";-images of nature in Japan have great recognition and are related to similar ones in Russian culture.

Keywords: culture, anime, Russia, history, nature, image, Fudji, sakura, communication, Japanese culture

DOI: 10.7256/2454-0625.2019.6.29973

Abstract: The article analyzes the color spectrum as an aesthetic intonation of transcendentalism, that most fully embodies everything from which follows the condition of existence a priori and a posteriori of the given matrix of knowledge of the world, our ontological place in it, creating the preconditions for the philosophical description of the contours of the meaning of a work of art, its semantic features, matrix for the visual synthesis of color, perspective in painting. Being a predestinated by the transcendental nature of the artistic subject, coloristic art project builds a prospect to imagine a color as a cryptic substance, as a direct manifestation of spiritual light, images spirituelles structure, as a blaze of pure reason, memory coloring. Solving a question on how to give a color aesthetics a transcendental meaning, how the aesthetics itself is inserted into the transcendental philosophy structure, the author invokes from Kantian approach, showing as far as coloring as science can be seen as scientia transcendens, realizing the intention of questioning the artistic truth and coinciding with the phenomenology of see-as-color. The following methodology was used: historical-philosophical and aesthetic research, analysis of art in the system of culture, the interdisciplinary methodology of the Humanities to describe artistic reality. The main conclusions are statements about the possibilities of considering color in the context of a global typology of artistic perception, explaining a color as something equivalent to a projection in space, allowing contemplate aesthetically in it. For the first time, transcendental exposition of the aesthetic sense of color is analyzed at the current level, the understanding of structures, primordial in relation to the light wave and color perception of the subject, which can be called transcendental coloristics, is brought to light.

Keywords: Каnt, color, painting, creativity, meaning of art, modern fine art, philosophy of art, aesthetics, consciousness, Mamardashvili

DOI: 10.7256/2454-0625.2019.9.30492

Abstract: The subject of the research is liminality in Russian folklore. In his article Fusu aanlyzes liminality as a typical feature of Russian folk culture caused by its adherence to pluralism and immensity. This specific feature of mentality is expressed in folklore as the core of etnic mind and national spirit. Fusu analyzes chronotopes, characters and narrative features of Russian fairy tales in which liminal locations and liminal characters are a frequent case. Fusu discusses how initiation rituals that imply liminality and transfer are expressed in fairy tales. To write this article, the author has used the historical-culturological, structural and comparative approaches. The research methodology also includes psychoanalysis that allows to interpret liminality as a longtime immersion into the unconscious and functioning of psyche at the borderline level. The author's special contribution to the topic is the anlaysis of how liminailty is expressed in Russian folklore based on the example of fairy tales and the author's conclusion that as the core of national everyday consciousness, folklore reflects boundedness typical for the world view and attitude of Russian ethnos. Liminal spaces and liminal characters in folklore tales reflect inherency of liminality from life and personality development.

Keywords: folk spirit, mentality, initiation, transition, liminal space, liminal character, fairy tale, folklore, liminality, liminal location

DOI: 10.7256/2454-0625.2022.6.38258

Abstract: The object of research of this article is the existential experience of a person in a virtual space, realized in the phenomenon of loneliness. The subject of the study is the refraction of the desert metaphor in relation to the virtual world. As you know, the development of modern information technologies has led to a change in the existential coordinates of a person, therefore, immersion in the virtual space for the current generation is becoming more and more relevant, and sometimes replacing many real events. The question of the interaction of man and technology acquires contradictory facets, because the threat of total convergence of virtuality and reality no longer seems so mythical. It is these provisions that force us to reconsider the position of a person in the modern world and try to assess this. The paper attempts to analyze the existential space of the virtual world of man through the metaphor of the desert. As a result, we can conclude first of all, that the natural desire of an individual to be in society can be perfectly realized in the virtual world, but it turns into an increased attention of the individual to himself (the need to satisfy his virtual requests), which leads him to a feeling of loneliness. And secondly, applying the metaphor of the desert to the virtual space, we see that it hides the context of solitude, care, to find answers to many questions. A person in the virtual world sees himself through the prism of his request into the virtual void, sometimes without even waiting for an answer to it, which once again confirms the idea of some kind of existential experience of loneliness in the Internet space. The scientific novelty of the work lies in the application of the metaphor of the desert to the existential space of the virtual world.

Keywords: understanding yourself, virtuality, information society, technologies, Existential space, virtual time, desert, loneliness, human, virtual space

DOI: 10.7256/2454-0625.2017.2.22202

Abstract: The article discusses the current situation in historiography which is characterized by the crisis of the concept of history. The author of the article has analyzed the views of Karl Popper and the concept of history as a set of rational reconstructions (interpretations). According to the author, the whole of history which allows to conceive and establish the nature includes not only interpretations of history but also a historical way of life of an individual as well as the historical mode of culture existence that undergoes several stages of development. The author has also analyzed cases involving these three historical images and describes particularities of working with historical data and historical texts based on this analysis. In his research Rozin has used the private methodology strategy including situational analysis in historiography, formulation and discussion of the problems, comparative analysis, reconstruction of the formation of the history concept, and construction of new schemes and concepts. As a result, the author was able to describe limitations of the interpretation of history only as a knowledge of the past and outline a new three-aspect understanding of history. The reality of history involves a certain historical lifestyle and in some sense it is aligned with the present; history does not only affect a person like art, it also bases on historical facts unfolding the story which has clear events, a beginning and an end, and gives us the knowledge of the past (in the form of certain versions, interpretations), as well as creates a new historical reality in culture.

Keywords: historical version, lifestyle, reconstruction, interpretation, present, past, history, scheme, concept, interpretation

DOI: 10.7256/2454-0625.2017.5.20725

Abstract: This article is devoted to understanding the phenomena of classical music and sound art that are often seen as synonymous. The subject of the author's reflection becomes the legitimacy of such an approach in a post-modern society where certain crises between the composer, the performer and listener. The communicative crisis caused by the gradual intellectualization of musical language in the XX century was partly linked by the spread in the second half of the last century avant-garde practices that are traditionally associated with academic music art. To compare certain definitions of music and sound art in order to find out their principal difference, the author has used comparative and axiological methods. The main conclusions of the article are the following: the basis of a musical work is the intentional-semantic aspect unlike sound art oriented at searching various sound impressions in the first place. Currently, due to the 'decompression values' observed in contemporary culture, it is necessary more clearly define the spheres of influence of these phenomena.

Keywords: avant-garde practices, composer-performer-listener, communicative crisis, game sound, sound structures, intonation, musical sense, sound art, music, post-modernism

DOI: 10.7256/2454-0625.2018.5.26266

Abstract: In this article Rozin discusses the attitude to death in contemporary culture. The author analyzes the reasons and circumstances that revive interest towards death and whether one should fear it. Rozin analyzes three concepts of life after death: pagan (animistic), Christian and esoteric. These concepts are based on the idea of human soul that is eternal. Howeover, the shift to the Modern Period and development of rational research thinking made us forget about that idea. As a consequence, people started to fear death again. The author of this article offers a solution of this problem through critisizing myths about life and death of a modern human and development of the 'right life' concept. In his research Rozin applies the following research methods: problem statement, comparative analysis, cultural historical reconstruction of ideas about life after death, and scenario approach. As a result of his research, Rozin describes the situation of the contemporary culture that returns researchers to discussing life after death and trying to find a solution of this problem. According to the author, the solution of the problem is the criticism of memos about life and death of a modern human and adoption of the 'right life' concept.

Keywords: body, soul, science, thinking, myths, culture, personality, death, life, problem

DOI: 10.7256/2454-0625.2021.5.35687

Abstract: The subject of this research is the St. Petersburg’s ballet in interpretation of the masters of fashion photography. The goal of this article consists in the analysis of specificity of modern fashion photography, and examination of the phenomenon of reference to the theme of ballet on the example of works of the prominent fashion photographers, such as Richard Avedon, Patrick Demarchelier, Deborah Turbeville, as well as certain Russian photographers. Special attention is given to examination of fashion photography not so much as the genre of photographic art, but as an important advertising tool. The relevance of fashion photography is associated with the increasing importance of visualization in life of a modern person; it plays a significant role in the social, cultural, and mythological life of the society. The article outlines the aspects of reference of fashion photographers to the theme of ballet; analyzes the peculiarities of using ballet images in photography; determines their role as a visual component of advertising campaigns in fashion industry; describes the advantages and effectiveness of their use in advertising and presentation of products. The author notes the frequency of referring to the theme of ballet in fashion photography, which leads to the increase of its artistic and cultural significance.

Keywords: art photography, representation, visual image, fashion industry, ballet image, St. Petersburg ballet, fashion photography, advertising, myth design, costume design

DOI: 10.7256/2454-0625.2019.4.29417

Abstract: In his article based on the analysis of the history of culture and ontogenesis, Rozin offers his methodological and cultural-psychological concept of consciousness. The researcher analyzes the gnoseological situation of the new time that has led to the creation of the term and consciousness scheme. Rozin studies two approaches, phenomenological and physiological, to consciousness in European science. He offers his own approach that is based on methodology of cultural research and psychology within which new structures of consciousness are developed as response and solutions of cultural issues which implies creation of scheme as a specific form of reflection. This approach is fortified by the analysis of proto-consciousness formation and consciousness itself in philo- and ontogenesis. In his research Rozin applies the following research methods: problem statement, comparative and situational analysis, reconstruction of protoconsciousness and consciousness formation, composition of definitions. As a result of research, Rozin has developed the main ideas of the methodological and cultural-psychological concept of consciousness and illustrated them based on the examples of the history of culture and ontogenesis. rozin has also created the interdisciplinary discourse that has used definitions of methodology, cultural research and psychology in a new light.

Keywords: concept, reflection, individual, personality, mind, culture, awareness, consciousness, scheme, future

DOI: 10.7256/2454-0625.2021.12.37004

Abstract: The year 2020 has become a turning point for all spheres, including culture. Due to the outbreak of coronavirus pandemic, all cultural institutions around the globe were forced to close and educational institutions transferred to distance format. However, sociocultural development did not cease to exist, but rather threw efforts of adaptation to the current conditions. This was facilitated somewhat facilitated by the expanding digitalization, which boosted the dialogue of cultures. On the one hand, the countries suffered heavy financial losses, while on the other – the creative approaches have made the image of the countries more attractive, mainly because the digital culture has vast audience and opportunities for distribution. However, the globalizing world challenges the cultural identity. This intensifies the need for finding ways to develop the world cultural space – without dominance of the stronger over the weaker, which can be promoted by culturological approach towards their comprehension and a humanistic language for describing these complex and dynamic processes. The humanistic values of coexistence and solidarity become more universal, allowing to avoid conflicts and strengthening international information and communication processes. On the other hand, these values are changing, and interethnic conflicts have aggravated during the pandemic. The object of this research is international cultural relations at the current stage of development. The subject is the peculiarities of the development of cross-cultural relations in the conditions of social transformations dictated by the pandemic. The goal is to reveal the potential of international cultural cooperation that is affected by the external and internal factors. The novelty lies in theoretical substantiation of changes and analysis of the diversity of models of cross-cultural interaction. Practical importance of this research consists in summary of the experience and opportunities for spreading the new formats of activity of cultural institutions.

Keywords: culturalogical approach, intercultural dialogue, COVID-19, humanism, globalization, public diplomacy, international cultural cooperation, socio-cultural changes, soft power, cultural environment

DOI: 10.7256/2454-0625.2019.9.30726

Abstract: The object of this research is the imperial funeral crowns of the Russian monarchy in the XVIII – early XIX century. The goal consist in determination of the artistic patterns and analysis of funeral crowns as the jewelry works of art considering the stylistic development. Reference to archival documents allowed revealing the circumstances of creating these crowns and names of the masters, role they played in funeral ceremony, as well as reconstructing the exterior of some of them. The author is first to analyze the artistic image of the imperial funeral crowns that undergone transformation throughout the XVIII – XIX century. It related to the shifts in stylistic preferences in the Russian artistic culture, as well as replacement of the court jewelers who executed the royal order. The author describes the stylistic evolution of funeral crowns – from exuberant, made out of multicolor gemstones in the early XVIII, to silver gilded silver crowns that only imitated the image of imperial crown of their deceased holder.

Keywords: Dublon, Samson Larionov, Russian emperor, regalia, imperial court, funeral ceremony, funeral crown, the art of jewellery, imperial crown, Pierre Théremin

DOI: 10.7256/2454-0625.2020.10.32501

Abstract: The object of this research is the works of the prominent Russian writer F. M. Dostoevsky. The subject of this research is the opinion whether F. M. Dostoevsky first and foremost is the Russian philosopher and thinker, and only then a writer. The author examines the peculiarities of such roles in culture as philosopher, thinker and writer, which gives grounds to question unambiguous reference of the works of prominent Russian writer as activity of the thinker. The peculiarity consists in the fact that F. M. Dostoevsky’s literary texts is so rich in images and themes, that shifting the specificity of his artistic image into the background is not quite justified. Special attention is given to clarification of the essence of activity of the philosopher and the writer. The key research method is the comparative analysis of the facts of such types of social practice as the profession of writer, philosopher and thinker in their relation to the fundamental concepts of time, space, text and nature of its perception from the outside perspective .The main conclusion consists in the statement that the philosophical text maintains neutrality in relation to time, as is being written from the standpoint of eternity. Literary text, in turn, is “submerged” in time and space of the events taking place within it, and relies on recognizability of the characters and their existential characteristics. F. M. Dostoevsky appears to the audience as the creator of storylines and images, rather than a person who sets the trends and concepts of social movements.

Keywords: Russian philosophy, philosopher, thinker, writer, existence, art, creativity, text, culture, perception

DOI: 10.7256/2454-0625.2019.1.28653

Abstract: The object of the research is the applied animation in Russia at the turn of the 1920 - 1930s. The subject of the research is the processes that have been happening in the cultural space of the country as a result of new value paradigms being developed. Petrukhina draws the parallel between the crude woodcuts style and poster style in the Soviet graphic design and animation. She describes historical grounds for the applied Soviet animation as a means of interaction between different types of arts and communication technologies. Conclusions about the influence of previous processes on the creation of the original appearance of applied animation are drawn, its characteristic features are highlighted. The author of the paper uses a theoretical analysis of the scientific specialized literature. The research is based on the method of description that includes methods of observation, comparison, generalization and interpretation. The rationale of the research is caused by the fact that that Russian applied animation resulted from the transformation of the crude woodcuts style, ideological poster making and numerous graphic and technological experiments in cartoon animation. The author discovers unique eclectic and collective nature of animation. The fact that this is an understudied topic requires further diligent studies. In conclusion of the article, the author discovers the ways of prolification of applied animation in the socio-cultural space and opportunities to use it at this stage.

Keywords: graphic art, paradigm, experiment, proliferation, soviet poster, evolutionary regularity, design, socio-cultural space, communication technologies, applied animation

DOI: 10.7256/2454-0625.2021.9.36367

Abstract: The subject of this research is the concept of free will. The modern philosophical discussions either do not explicate it, or interpret far from the traditional meaning that has been instilled into this term throughout the centuries, The goal of this article lies in the historical-philosophical reconstruction of the concept of free will. However, the interest towards achieving this goal is not limited to the sphere of history of philosophy. Understanding of the key term largely determines the fruitfulness of theoretical constructions aimed at solution of the problem of free will. The article expounds and substantiates the methodological principles the reconstruction concept of free is based upon. It is demonstrated that free will features two characteristics that can be designated as conformity and independence. Therefore, free will can be defined as the will that corresponds to the value system of an individual and is independent of external factors. Such definition summarizes the practice of utilization of this term in history of philosophy. However, since the late XIX century, and namely in the XX century, there has developed a strong tendency towards distortion of the traditional concept of free will, which implies exclusion of the characteristic of independence and defining free will through the concept of moral responsibility.

Keywords: liberty of indifference, compatibilism, classical compatibilism, volition, volitional act, freedom, moral responsibility, free will, freedom of choice, autonomy

DOI: 10.7256/2454-0625.2021.4.35046

Abstract: The object of this research is the philosophical works of the Russian religious thinker P. A. Florensky. The subject is the extensive concept of religious philosophy, which brings certain clarity to the question of separation of the unity of philosophy and religion that takes place in modern thought. Throughout centuries, the philosophy has been defined in relation to religion. Only in the Renaissance Era, scholars and philosophers came to the conclusion that these two sciences can exist separately and pursue their initial goals. Theology should be proving the existence of God and comprehensibility of God for human mind and, most importantly, for faith. The theme of philosophy is human and existence. The main conclusions of lies in the statement that philosophy and religion do not contradict each other, neither on the subject matter nor in the fundamental cognitive attitudes that develop the ideas of human in their being. In the early XX century, the following situation has formed in Russia: if the philosophy does not acknowledge the existence of God, it no longer is considered a full-fledged science and should cease to exist. Only the materialistic trend in philosophy denied the existence of God. It has been overcome by such thinkers as N. Berdyaev, S. Frank, P. Struve, S. Bulgakov, and other. The aggravation of this issue at the turn of centuries resulted in the fact that the scholars have found the religious topic particularly painful and fatal for the individual.

Keywords: Russian philosophy, philosopher, thinker, culture, existence, dialectics, creativity, philosophy, method, revelation

DOI: 10.7256/2454-0625.2017.1.21963

Abstract: The subject of the present research is the philosophy of existentialism (Jean-Paul Sartre and Albert Camus) in the poetic world of the 'man of the sixties', Oleg Chukhontsev. According to the poetry of neoacmeism, Søren Kierkegaard and Russian existential philosophers (Soloviev, Berdyaev and Shestov), time and space, being and existence, conciousness and individuality, world model and 'intellectual intuition', everyday life and oneurosphere (the sphere of poetic dreams) form an integral synthesis. This synthesis corresponds to the idea of existentials in terms of a poet's mystic world view and becomes a metahistorical or apocalyptical event which contributes, in the first place, to the organic unity of the two artistic systems, structural elements of neoacmeism and surrealism of the Russian type (B. Poplavsky's creative work is an example of such synthesis). The author of the article carries out a detailed analysis of Oleg Chukhontsev's system of genres. The methodological basis of the research includes elements of the biographical and comparative approaches, structural semiotic analysis of existentialists' philosophical research and Oleg Chukontsev's works which, in its turn, involves implicit data of a metapoetic commentary. Finally, the author also uses the method of generalization and the procedure of moving around the hermeneutical circle in order to complete the aforesaid approaches. The author concludes that Oleg Chukhontsev's creative work is a priori existential, it is the 'tragedy of a metaphysical insight', 'mystery of the unconciousness' and opposed to the creative work of another 'man of the sixties' A. Kuchner who was oriented at the philosophical teaching of stoics much more. The virtual, latent dialogue between existential philosophres and neoacmeist poet of the 20th century through time and space represents their cultural, in-depth and ontological interation as one of a very important and necessary moments in interpreting a poetic text.

Keywords: persona, Christian gnostic world view, twin, time and space, oneurosphere, surrealism, neoacmeism, Oleg Chukhontsev, existentialism philosophy, man of the sixties

DOI: 10.7256/2454-0625.2017.1.68563

Keywords: persona, Christian gnostic world view, twin, time and space, oneurosphere, surrealism, neoacmeism, Oleg Chukhontsev, existentialism philosophy, man of the sixties

DOI: 10.7256/2454-0625.2019.6.29768

Abstract: The article presents the ideas of the author's postculture concept. Firstly, the problems forcing to revise the traditional concept of culture, which is given through four procedures (comparison of cultures, setting their integrity, degree of development, and uniqueness) are set. Afterward, the author characterizes the connection between the definition of culture and the concept of modern. Meanwhile, the modern is observed as a project of the organization a new world based on man's mastery of nature. The author explains the introduction of the concept of culture by the problems that arose during the implementation of the project of modernity. The author includes, on the one hand, the processes of transformation and transition characteristic of our time, on the other ‒ the formation of a new culture ("future culture"), into the postculture. Both sides of this new cultural formation are outlined. The following methodology is implemented in the research: problem statement, situational analysis, cultural and historical constructions, the introduction of new concepts, their explanation and justification. As a result of the study, it was possible to show that the traditional concept of culture is set by specific procedures and is connected with the concept of modern. Currently, in modernity, which the author calls postculture, he proposes distinguishing between the processes of transformation of sociality and transition, as well as the formation of the culture of the future. He characterizes the latter one in terms of a new vision of reality, sociality, and values.

Keywords: nature, project, modern, modernity, history, postculture, culture, person, man, sociality

DOI: 10.7256/2454-0625.2020.5.32877

Abstract: This article analyzes the aesthetics of color as a branch of metaphysics of light and entire photonic zone, which from phenomenological perspective can be viewed as the source of intentional radiations in various bands. It is demonstrated that the image of light is the result of work of aesthetic and artistic consciousness that pan the world and place of a human therein; at the same time, it is important to underline the set-up of meaning with all its predicates in the a posteriori score of color perception itself. Special attention is given to examination of the phenomenology of color. Metaphysically, it represents an even, when the color reflect itself in the value and acquires a prospect. Structuring of modern phenomenological attitude to reality leads to the emergence of new opportunities for the experience of working with color, reconsideration of beauty of coloristic data. According to Husserl, color originated by fantasy, can be an act of life within aesthetic consciousness. Despite the rich research material on the topic, these is still no special research that would demonstrate the artistic shift of boundaries of the color image in relation to metaphysical axes of reference (which becomes a leitmotif for metaphysical painting Giorgio de Chirico), as well as possibility of existence of cross-platform toolset that works on several instrumental systems of aesthetic consciousness and allows conducting the analysis of aesthetic methods of examination of the color itself. This article helps to fulfill such gap.

Keywords: transcendental philosophy, Каnt, phenomenology, painting, creativity, consciousness, color, metaphysics, aesthetics, Husserl

DOI: 10.7256/2454-0625.2019.6.30018

Abstract: The subject of the study is Three Fragments of the Opera Wozzeck by A. Berger. Opera Wozzeck is a peak of the embodiment of ideas and expressionism. Detecting the traditions, from which a musical language and musical forms of this piece of work grow, can become a fascinating research problem. However, the whole opera is too great for the short article, while Three Fragments as if includes the key moments of opera, so it is possible to compile an impression of the whole work relying on them. The subject of the study is the traditional and innovative techniques of musical language, presented in the given cycle. The article provides a detailed analysis of the use of traditional musical genres, forms, techniques. Also, tone continuity is observed. Along with it, the analysis of the composer's innovative techniques is carried out, and also a new use of traditional means in the context of the expressionist concept is identified. In the course of the research was concluded that in A. Berger's artistic work, particularly in Three Fragments of the Opera Wozzeck, occurs a synthesis of musical language, inherent to the tradition of romanticism and innovative, expressionistic techniques. This method gives rise to a unique, inimitable composer's style, which allowed A.Berger to create one of the principal compositions of the XX century.

Keywords: polyphony, musical forms, musical genres, romanticism and expressionism, opera, Gustav Mahler, Alban Berg, intonation, tradition and innovation, continuity

DOI: 10.7256/2454-0625.2021.4.35397

Abstract: The Central Academy of Fine Arts is the only higher education institution of fine arts under the jurisdiction of the Ministry of Education of the People's Republic of China. The history of the National Art School in Beiping dates back to the establishment of the National School of Fine Arts in Beijing in 1918, which was supported by the prominent pedagogue of art and its first director Cai Yuanpei. It was the first national school in the history of China, laid the foundation for the modern Chinese education in the field of fine arts. This article is dedicated to the analysis of the key events of more than a century-long history of the school, which allows tracings the evolution of the Chinese art education, and gives a better perspective on the role of modern China in the art world. The novelty of this work lies consists in description of the process of establishment of art education in China in the XX century, classification of the national traits of this period on the example of the Central Academy of Fine Arts in Beijing, as well as analysis of the Soviet impact upon the Chinese education in the field of art history. The international cooperation with the Russian School of Painting, namely I. E. Repin Academy of Fine Arts had a beneficial impact. The study of Chinese students in the USSR allowed the following generations to implement such valuable experience. The ancient techniques and plotline received a new life in the works of modern artists, which are justifiably regarded as the achievement and progress in the national culture.

Keywords: Traditions of the Soviet school, Curriculum structure reform, Central Academy of Fine Arts, Soviet-Chinese relations, Китайское художественное образование, Art education, Chinese education, Art history school, Academy of Repin, Chinese art traditions

DOI: 10.7256/2454-0625.2021.4.35564

Abstract: This article explores the problems of the poorly studied sociocultural practices of spiritual-educational fund of ethnic cultures, among which of particular importance is the study of historical and aesthetic specificity of graphic symbolism. The author reviews the ideographic image of the family symbol of ownership “tamga” from the perspective of mutual influence of ethnocultural practices of different people that manifests through the system of symbols. Analysis is conducted on the interaction of ethnic graphic symbols in the evolutionary processes of sociocultural activity of the ethnoses. Symbolic ideographic images have always played a significant role in the evolutionary processes of sociocultural activity of the society. Symbols prompted the emergence of writing system, art, education and upbringing, and up to now are associated with the modern worldview. In the course of research, the author determines the characteristic artistic features socially meaningful forms of ethnic culture. Existing as a the visual forms of control over the processes of spiritual development, the symbolic forms infiltrate from one creative system into another, exerting a direct influence upon the artistic-aesthetic content and cultural meaning of the new image. These graphic codes, depending on the semantic generality, define cultural significance of the symbol in folk art. The relatively small number of publications dedicated to the research of graphic image of the social symbol (tamga) allows summarizing the results acquired by the Russian and foreign scholars in this field.

Keywords: abstract image, sociocultural symbol, North Caucasus, ideographic image, visual code, tamgi, Graphic sign, magical symbol, national culture, ethnicity

DOI: 10.7256/2454-0625.2017.12.24383

Abstract: In her research Tkacheva studies various points of view on the definition of 'public art' and analyses this term from the point of view of polysemy of its components. The research results demonstrate the connection between reviewing key concepts of aesthetics under the influence of post-modernism ideas and conceptualism and development of a new direction in art. Special attention is paid to features of perception and use of the term "public art" in Russia. On the one hand, the author gives examples of it as western practice, on the other hand, reviews attempts of the Russian academic community to give their own definition based on the sociocultural and historical specifics. The method of the bibliographic analysis has been used for this research. In the course of the research the author analyzes analytical texts that describe various points of view both on contents of the term 'public art', and on the perspective of interaction between art and society in general. As a result of the research the author analyzes key approaches to interpretation of the concept 'public' as the main component of the term 'public art'. The choice between understanding 'public' as characteristics of the place, character of problems which the artist addresses or as a way of communication, leads to emergence of various art strategy within one phenomenon. On the one hand, this defines its mobility and variability, and on the other hand, allows to define the main borders of the considered concept.

Keywords: sociocultural context, street art, society, urban environment, public space, contemporary art, public art, postmodernism, art process, terminology

DOI: 10.7256/2454-0625.2017.12.25096

Abstract: The subject of the present research is the foreign films seized by the Soviet government from Reichsfilmarchiv in 1945 and released by the USSR government as trophy films during the period since 1946 till 1956. From the legal point of view, the trophy status of those films can be doubted. However, the present research is focused on the trophy film as a certain cultural phenomenon of late Stalinism. That is why the phenomenon involves all foreign films marked as trophy films by the Soviet government or audience. By analysing government documents of both USSR and Russian Federation (archive and published documents) as well as ego-documents (letters, diaries, and memoirs) and some fiction, the author of the present article tries to understand how trophy films turns into an individual cultural phenomenon from an irrelevant episode of post-war Soviet history. The novelty of the research is caused by the fact that the author touches upon understudied texts that reflect perception of trophy films. This allows to make absolutely new conclusions. The research results demonstrate that despite the fact that the term 'trophy film' was introduced into the academic community only in 1950 when those films release started to decline, the phenomenon 'trophy film' developed and extended to the phenomenon of cultural phenomenon in retrospective reception. Retrospection both distorts and extends chronological frameworks and extent of the phenomenon itself.

Keywords: Soviet film history, cultural transfer, cultural import, Soviet perception, postwar society, gosfilmofond film archive, displaced cultural valuables, trophy films, spoils of war, retrospective perception

DOI: 10.7256/2454-0625.2015.2.14144

Abstract: A creative personality as a public figure is the topic of this article. The said personality can express itself in different forms. In this particular case among all possible forms the author is emphasizing and considering the one where the protest is coming to the fore. Such forms of the contemporary art as performance and happening, and most of all those pieces of art which are laying a special emphasize on the protest, are appearing as a concrete expression of this form. Radicalism appearing in these art forms aids detecting aspects of artist’s creativeness which are promoting transformation of any creative person to a public figure. Pertain of performance and happening to art it is not obvious. These art forms are perceived as marginal one and are exclusive of the conventional art system. More often than not their radical protest is liable to prosecution. However legal evaluation does not facilitate but complicate esthetic evaluating. In order to overcome the doubtful status of these forms, it is necessary to consider them as cultural phenomenon with past precedents. “Yurodstvo” (idiotic action) of the times of Ancient Rus is their immediate predecessor. This is the first attempt to analyze the creative personality at such culturological angel. Based on researches of A. van Gennep and W. Turner, the author is revealing a latent character in creative person’s activity, which is known as liminality, in other words, a necessity and ability to express protest which is not only a protest against the power, but as protest against the society stagnating in conformism. In pre-industrial societies any bearer of liminality, i.e. a wacky, was a sacred person, who should not suffer persecution of authorities. In secularized societies the artist and images of his/her heroes are bearers of liminality. And happenings and performances are the contemporary forms for expressing the spirit of liminality.

Keywords: creative personality, performance, happening, public figure, yurodstvo, Avant-garde, liminality, anti-behaviour, sacral, secularity

DOI: 10.7256/2454-0625.2015.2.66068

Keywords: Creative personality, performance, happening, public figure, yurodstvo, Avantgarde, liminality, anti-behaviour, sacral, secularity.

DOI: 10.7256/2454-0625.2020.12.34713

Abstract: This article examines the iconographic heritage of the Old Believer Lipovan Rogachevsky-Nikita family in the context of history of Romanian rural localities. Based on the expedition material, analysis is conducted on the peculiarities of folk icon and local traditions that established in the Old Believer center of Romania. The reviewed documentary sourced were acquired in the course of expeditions and further personal contact with the family. The collected material contains history of the family of iconographers, their lifestyle and customs, conditions for fulfilling the orders that are closely related to the history of this rural locality and way of life of the Nekrasov Cossacks. The research is of applied nature in the area of art history, as well as of interdisciplinary in nature. The article employs the methods of stylistic and historical-cultural analysis; biographical method for reconstruction of biography of the family members and their artistic heritage. New records on the dynasty of Romanian iconographers are introduced, which expands the information on the Lipovan icon and indicate regional peculiarities of its creation. The author also introduces the new names and monuments of iconography into the scientific discourse that allows clarifying the attribution. The artistic heritage of iconographers of the late XIX – early XX centuries is also introduced into the scientific discourse: Rogachevsky-Nikita; in the XX century – Egor Nikitovich Nikita and Roman Egorovich Nikita.

Keywords: iconography, Nekrasov Cossacks, narrative, folk icon, lipovans, old believer culture, biographical method, icon-painting, icon-veneration, dynasty Rogachevsky-Nikita.

DOI: 10.7256/2454-0625.2016.2.17407

Abstract: The article is devoted to the problem of precedentiality in the texts of fiction, provides a definition of the term 'precedent text' and describes this phenomenon in the modern Russian language. The author of the article also touches upon precedent names as a type of precedent texts. Different types of precedent names are studied based on the case study of Anton Chekhov's short story "The Headman (A Sketch) ". Many realities of Moscow life of the end of the XIX century, which themselves repersent precedent names of those times, were reflected in the works of Anton Chekhov. The method of linguostylistic analysis of texts is used in this research. There a wide range of precedent names which can be found in the works of Anton Chekhov. According to the author, by analyzing one of the short stories of Anton Chekhov it is possible to identify several types of precedent names that are most typical for the creative work of this writer. The novelty of this research is caused by the fact that precedentiality in the prose of Anton Chekhov was not addressed previously by researchers in the field of language, culture and literature. In particular, precedent names are a special yet understudied aspect of the creative work of a great Russia's classical author Anton Chekhov. For example, in the short story 'The Headman (A Sketch) one can observe the following types of precedent names: last names of famous persons who were Chekhov's contemporaries such as lawyers, scientists, composers, and etc., geographical names and eloquent expressions.

Keywords: precedentiality, precedent text, precedent name, Anton Chekhov's creative work, Yu. Karaulov, eloquent expression, chrestomathy, text, cultural fact, Moscow

DOI: 10.7256/2454-0625.2016.2.67601

Keywords: precedentiality, precedent text, precedent name, Yu. Karaulov, eloquent expression, chrestomathy, text, cultural fact, Moscow

DOI: 10.7256/2454-0625.2016.2.17850

Abstract: The subject of the research is the interpretation of the mechanism for interpreting the author's content in directing. Particular attention is paid to the exact distinction between "art" and "life". The author specifies the fundamental differences between these two concepts and expressed the idea of inadmissibility of "copyism" on stage. It is shown that "art" is a special type of "the mounted object" that is based on a number of concepts emerging in the unity of ideas. It is emphasized that idea is the organizing structural principle of an artificial object, the author also shows in detail how and by what means a 'physical object' turns into 'artificial'. It is emphasized that the author's intent is the "first-level" interpretation of life, and directing is the "second-level" interpretation of life. The article provides a thorough theoretical analysis, which allows to highlight certain aspects, features, aspects and operations of the mechanism of interpretation. In addition, the author studies examines literature on the theory of drama and opera directing (a small part of which is shown in the list of references) with a detailed note-taking and citation. Analysis of a large body of classical theoretical literature on the theory of the active analysis of the play, as well as modern materials of the periodical press allows to establish that over the past thirty years nothing substantial has been done in the sphere of directing theory. The academic community has not created any new concepts, neither has it clarified a specific active analysis of the play or director's script. In particular, the mechanism of the director's interpretation of the author's dramatic material, the way of its functioning in the production of the play have never been fully described or revealed. This gives rise to a huge number of loose interpretations in directing practice and leads not only to the distortion of the original intent of a playwright or composer, but also allows the filmmakers create their works with a very significant distortions of the raw material, as well as to use the play or director's script only as a pretext for their own, very arbitrary, "avant-garde", i.e. unfettered imagination.

Keywords: interpretation, directing of opera, opera, active analysis, action, theory of directing, directing, theatre, avant-garde, structure

DOI: 10.7256/2454-0625.2016.2.67602

Keywords: interpretation, directing of opera, opera, active analysis, action, theory of directing, directing, theatre, avant-garde, structure

DOI: 10.7256/2454-0625.2015.4.15118

Abstract: The paper consists of the two parts, general discussion of the nature of war and a case study, specifically, socio-cultural views on the campaigns of Alexander the Great. Based on the work of Kant who believed that it was possible to establish the eternal peace, the author analyzes the current understanding of the war and the difference in motivating the last two plans: pragmatic and transcendental. The former is given by all sorts of practical reasons (to seize someone else's territory, to take revenge on other people for their past wrongdoings, to extend the power and strengthen the economy in the conquered territories, to boost the coffers and slaves, etc.), and the latter is defined by ideas created by a community or state but not individuals. Capmaigns of Alexander the Great are considered from the point of view of the analysis of personality of the great general, his plans of campaigns including messages designed to motivate and inspire the army and the Greek city-states, the implementation of these plans, the basic conditions of implementation, the findings to better understand the nature of war. The study of these topics have been implemented principles of comparative analysis, cultural-historical reconstruction of the campaigns of Alexander the Great and methodological analysis including problematization. As a result, the author could view the problems arising in the process of thinking about war. The author also gives his answer to the question whether it is possible to live without war. The Western world could theoretically live without wars because pacifist and humanist movements contribute to the transformation of traditional wars into the war with a minimum of casualties among the enemy population. But the opposite trend caused by the expansion of barbarism on the contrary constantly renews the traditional war.

Keywords: victory, army, military campaign, general, peace, culture, personality, change, war, condition

DOI: 10.7256/2454-0625.2015.4.66540

Keywords: victory, army, military campaign, general, peace, culture, personality, change, war, condition

DOI: 10.7256/2454-0625.2014.4.12736

DOI: 10.7256/2454-0625.2014.4.65423

Abstract: The author of the present research article disproves of Fedyor Dostoevsky’s evaluation of Pushkin’s poem ‘Egyptian Nights’ shared by Dostoevsky in his ‘speech on Pushkin’ on June 8, 1880. Pushkin’s call for humanism is the main value for Dostoevsky but Pushkin’s personal ideology is the main ideological opponent of Dostoevsky. So when praising Pushkin for his humanity Dostoevsky destroys the grounds of Pushkin’s ideology. His interpretation of ‘Egyptian Nights’ is an attempt of the ideologist of Pochvennichestvo to destroy ‘personality’ in order to clear a space for ‘God’ and ‘people’ as grounds of the Russian culture and thereby using Pushkin’s ‘Egyptian Nights’ for proving the idea of Narodnichestvo and religiosity as the grounds of Dostoevsky’s own concept of humanity. From this point of view Dostoevsky’s ‘speech on Pushkin’ is objectively ‘anti-Pushkin’. The researcher applies the comparative socio-cultural analysis of Pushkin’s poem ‘Egyptian Nights’ and Dostoevsky’s comments on it. The analysis is carried out from the point of view of values that are dominating for the author and Dostoevsky. For the first time in studies of Dostoevsky the researcher proves the failure of Dostoevsky’s point of view on Pushkin’s series of ‘Egyptian Nights’. Therefore the conclusion about Dostoevsky’s misinterpretation of the meaning of ‘Egyptian Nights’ can be considered to have been proved. This allows to progress in our understanding of the speech on Pushkin as an objectively anti-Pushkin speech.

Keywords: Pushkin, Dostoevsky, Egyptian Nights, Speech on Pushkin, love, death, sex, poet, poetry, the purpose of poetry.

DOI: 10.7256/2454-0625.2015.5.16026

Abstract: As it is well-known, in 1913 an Italian composer, artist and poet Luigi Russolo, being influenced by the futurists of those times, wrote his manifesto "The Art of Noises". Among the performers and all "advanced" cultural figures of those times the manifesto introduced the view that the musical sound could be created by anything, first of all, all kinds of machines and devices, and the sound could also be a growling, scream, whisper, roar, rumble, etc. Noise and aesthetics of noise had a special influence on the creative heritage of one of the most radical innovators in music of the XXth century, American composer John Cage who denied tonation in general and used only the noise in his musical compositions. On his way to the integration of noise into music, Cage followed the following four principles: 1) creation of a so-called prepared piano, 2) invention of new instruments or involvement of instruments that had never been used in music before, as well as a non-traditional use of human voice; 3) implementation of electronic means of sound transmission (computers or concrete music), 4) complete replacement of music with noises. The methodology of the research is based on the integrated approach to such macro-terms as "noise in music" and "musical silence" introduced and first used by John Cage. The author has also used the analytical method for the analysis of specific works created by the composer. In conclusion, the author notes that being the brightest innovator in music, John Cage created a completely new world inside himself and his own philosophy. Later Cage introduced that world to the audience. Someone accepted his innovations, ideas and concepts and someone rejected them, but in any case, John Cage made an important breakthrough in understanding the phenomenon of music and answering the universal question 'What is music?'. What if music is just the Noise indeed?

Keywords: new musical instruments, Luigi Russolo, noise, John Cage, synthesis of arts, silence, music, prepared piano, phonetics, aesthetics

DOI: 10.7256/2454-0625.2015.5.66909

Keywords: new musical instruments, Luigi Russolo, noise, John Cage, synthesis of arts, silence, music, prepared piano, phonetics, aesthetics

DOI: 10.7256/2454-0625.2014.5.12802

DOI: 10.7256/2454-0625.2014.5.65547

Abstract: The author of the article analyzes the situation that was created as a result of eschatological interpretations of the future of the Universe and our Earth and discussions whether there will be place for human in the future or the humankind will disappear after cosmic cataclysms. Based on his own methodological researches in different fields of science as well as works of Hannah Arendt, the author shows such catastrophic views are based on the natural scientific interpretation of the Universe although Kazyutinsky, in fact, questioned that kind of interpretation. V. Rozin views alternative, optimistic interpretations of the Universe such as historical-cultural, religious and methodological concepts. It is concluded that there is more than one alternative to the vision of the reality established by Rationalism and natural science. In his article the researcher has used methods of comparative analysis, cultural, historical and methodological approaches, case study and has carried out problematisation, reflection and schematization of cosmological researches. As a result, V. Rozin has managed to cast doubt on single-sided and reductive (natural scientific) eschatological explanations of the future of the Universe and our Earth. V. Rozin shows that these explanations are based on the old research methodology of studying complex objects as well as on the point of view that only natural science is a true science. However, the humanistic philosophy offers alternative versions of the future events and interpretations of reality.

Keywords: Universe, earth, catastrophe, interpretation, reality, trends, science, natural science, concepts, theories.

DOI: 10.7256/2454-0625.2016.5.17622

Abstract: The subject of the present reserach is the problem of love and marriage as interrelated phenomena as well as their interpretation in Russian artistic texts and philosophical discourses. The rationale for choosing this topic is the deconstruction of traditional famly values in today's sociocutural situation when new forms of legitimized family relations which used to be rejected by society appear and the value of love as the basis of family is in question taking into account the processes of culture commercialization and individual atomization. The researchers have used the method of textual analysis and discourse-analysis to analyze representative texts from Russian fiction and philosophy. The authors have also used the diachronic method to research cultural phenomena. The scientific novelty of the research is caused by the fact that the authors study modern contradictions in interpersonal relations that possess the features of post-modernist culture and society from the point of view of similar crises in the Russian culture of the 19th century that were reflected in literary and philosophical discourses. The conclusion is made that inspite of cultural changes many of the aspects of love-family relations have universal meaning and are a part of human being's existence. Thus, the authors outline universal anthropological phenomena, love and family, that remain stable despite changes in cultural paradigms.

Keywords: discourse, love, regulation, power, representation, literature, philosophy, interpersonal relations, family, culture

DOI: 10.7256/2454-0625.2016.5.68259

Abstract: The present article is devoted to the development of the 'female' theme in the art of the XVIIIth - XXth centuries and Russian art as illustrated by the images of churchwomen and nuns. The authors of the article discovers a complex relationship between secular culture and religion. Having received the impression of the Age of Enlightenment, the literature of the XVIIIth century depicted monkery as something negative like slavery or prison the heroines tried to escape by all means as illustrated in Denis Diderot's, Abbé Prévost's and Marquis de Sade's works. The XIXth century did not make the images of nuns more realistic. For example, the 'Ballet of Nuns' from Giacomo Meyerbeer's opera is a bright example of how the secular society of the July Monarchy treated monkery. Romanticism and the Pre-Raphaelites depicted nuns from the piont of view of Gothic romance and poetical images which again had very little to do with the reality. On the contrary to those secular tendencies, the XIXth century faced numerous pilgrimage centers and facts of manifestation of Holy Mother. That was the time when Saint Anne Catherine Emmerich who had the marks of stigmata lived. In the XXth century secular art started to depict lives of nuns and churchwomen with more understanding (Georges Bernanos), however, at the age of globalization pop culture created a false image eroticizing monkery in cinematograph and pop music. The problem is that secular art expresses opinions and views of people who lead a bohemian life and therefore very far from understanding monkery as another social category. Gender themes demonstrate particular socio-cultural changes in social life and attitude to religion as well as the problem of the man-and-woman relationship. The relevance of the research is caused, first of all, by the fact that the authors appeal to the image of women who had devoted their life to God, i.e. nuns and churchwomen. The authors of the present research describe the times after the French Revolution with all its contradictions. According to the authors, it is very importance for us to analyze that experience because we ourselves are living in the age of changes, historical paradigm shift and development of the society.

Keywords: dechristianization, Huguenots, cinematography, Pre-Raphaelites, Victorian England, mariphania, nuns, churchwomen, Enlightenment

DOI: 10.7256/2454-0625.2016.5.68260

Abstract: The subject of this article is the possibility and objectivity of the systems approach applied to the identification of the ontological essence of the phenomenon of mass culture that is understood by the author primarily as a form of the historical development of fundamental culture, systemic modification of the whole fixing the way to connect its separate structures with each other as well as the coherence of cultural systems depending on their functions and purposes in the movement of culture across space and time taking into account the relationship with other systems (people, society, nature). In this regard, the main scientific and theoretical basis of the article includes cultural and philosophic views of the famous Russian scientist M.S. Kagan expressed in his fundamental work "Philosophy of Culture" (1996). Noteworthy that activity grounds of culture relate to its iconic apperception and all of its space relates to the global semantic structure of subjects, objects, outcomes, processes, institutions that are also in one way or another reflected in a significant number of researches (for example, the interpretation of culture by E.A. Baller, V.P. Vizgin, V.E. Davidovich, Yu.А. Zhdanov, V.J. Kelle, Yu.M. Lotman, M.K. Mamardashvili, E.S. Markarian, A.A. Pilipenko, I.G. Yakovenko, etc.). This creates a syncretical research organum designated not just to identify the fact of culture itself but also to reveal the structural semantic grounds that define its multi-dimensional existences. The novelty of the research is caused by the fact that proving the idea of the need to conceptually establish the limits of the systems cultural references within the framework of its diachronic and synchronic grounds, the author makes an attempt to clarify the historical importance and purpose of the phenomenon of mass culture by the means of the systems approach. The author also clarifies terms 'mass culture' and 'masses'.

Keywords: vectors of culture, innovation, tradition, dynamics of culture, form of culture, systems approach, culture, mass culture, theory of culture

DOI: 10.7256/2454-0625.2015.6.16629

Abstract: The author of the article introduces the idea of the personality map by using the category of "anthropoid cartoid". The author suggests that we should consider the problem of personal development from the point of view of a guide/map created by a person in the process of his personal development. The researcher underlines the need for creating such a map and at the same time stresses out how difficult it is to develop it. The latter is due to the fact that modern man is experiencing the "after Auschwitz" situation, a cultural pause, i.e. the time when previously adopted basic cultural symbols and patterns are either destroyed or fundamentally changed. The author demonstrates that a form of cultural transmission in such a situation is the testimony of one who has the ultimate anthropological experience. The author emphasizes the complexity and fraught with such experience in witnessing the 'after' situation. The author of the article introduces a number of principles forming the basis of the anthropological cartoid that differs from the usual personality map because it is both an external tool for personal self-navigation and a diary/part of personality of a person who creates the map. The intruduction of the term 'cartoid' allows to point out peculiarities of personal development. The novelty of the article is caused by the fact that the author offers a definition of anthropoid cartoid and describes a number of the basic principles the anthropopractical method of creating the anthropoid cartoid is based on. The author emphasizes the need to work on creation of such anthropoid cartoids as the sitution of recession of the symbolic horizon of culture, i.e. the situation that was called The After Auschwitz Situation. The author stresses out the problem for transferring experience throughout generations in the after auschwitz situation characterized with the ontological emptiness and fundamental inability to transmit experience and cultural patterns. This emphasizes the need for creating a personality map that would be based on different principles rather than usual individual development pathways.

Keywords: personality map, situation of human being, semantic self-navigation, anthropoid kartoid, egonal, evidence, after Auschvitz, conductor culture, tutor, symbolic horizon

DOI: 10.7256/2454-0625.2015.6.67056

Keywords: symbolic horizon, tutor, culture conductor, personality map, situation of man, semantic self-navigation, anthropoid cartoid, egonal, evidence, after Auschwitz

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

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: 10.7256/2454-0625.2018.5.26113

Abstract: Based on the analysis of sculpture pieces from St. Petersburg collections (Yelagin Palace, State Russian Museum, Museum of Porcelain and Chess, St. Petersburg State Museum of Theatre and Music, Leningrad Museum of Everyday Culture 1945-1965 Years) and Soviet porcelain catalogues, Ivanova analyzes creative activity of a Leningrad artist Anatoly Kiselyov in terms of the development of the Soviet art industry of the 1950 - 1960s. The most famous and the brightest images were created by the master during his work in art workshops of Leningrad Porcelain Factory under the State Research Ceramic Institute. The porcelain of this factory was throught to be second-rate and was not accepted by Soviet criticism and art critics. Activation of museum exhibition activities over the past years using Anatoly Kiselyov's sculpture creates the acute need in a more in-depth analysis of the master's porcelain in particular and porcelain produced at the Factory in general. For this purpose, the author has offered her own classification of porcelain made by Anatoly Kiselyov in accordance with the mofits, plots and stylistic solutions typical for the Khrushchev Thaw. The author uses this classification to describe the role of the artist in the process of implementing new doctrines and arts and crafts concepts.

Keywords: fairy-tale motifs, L.N. Smorgon, V.V. Sterligov, the ballet Petrushka, art industry, LFOP, Experimental factory, A.A. Kiselyov, thaw, soviet porcelain

DOI: 10.7256/2454-0625.2016.5.17171

Abstract: The subject of the research is the activity of a leading composer, theorist, polemist, teacher and conductor of New Music Pierre Boulez whose activity led to the foundation of Institute for Research and Coordination in Acoustics/Music (IRCAM, the Centre Pompidou in Paris). Petruseva analyzes the environment and stages of Boulez' creative activity, three types of musical establishments (training, performing and research establishments), IRCAM structure; Boulez' article 'Technology and the Composer' that became the manifesto of IRCAM; Boulez' interpretation of the total serialism, denial of preceding (nearest) tradition and transition to the period of 'synthesis'. The researcher uses an integrated research method that combines comparative studies, structural musical methods and elements of social methods. The novelty of the research is caused by the fact that the author tries to outline the borders of anthroposociological research based on the example of Pierre Boulez' sociocultural activity. As a conclusion, the author describes the single line of Boulez' activity that starts with immediate problems of aesthetics, musical material, language and New Music concept and comes to musical establishments through the problems of perception and music performance.

Keywords: post-serialistic modernism, 'vector composition', types of musical establishments, teaching, performing New Music, research-related, structure and manifesto, New Music, IRCAM (Institut de Recherche et de Coordination Ac, stages of Boulez' creative activity

DOI: 10.7256/2454-0625.2016.6.21185

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

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

DOI: 10.7256/2454-0625.2016.6.21196