Abstract: The subject of the study is the transformation of human subjectivity in the digital environment under the influence of the evolution of user interfaces, as well as the cultural practices that emerge in this process. The interface is considered not only as a technological solution, but above all as a cultural form of mediation that organizes everyday experience, directs user action, and consolidates reproducible patterns of participation in the digital environment. In this way, the interface is involved not only in providing access, but also in the redistribution of initiative, choice, patterns of attention, and everyday modes of action. Particular attention is paid to the ways in which the transition from instrumental forms of interfacing to algorithmized, agentic, and environmental formats of human–AI interaction alters the user’s status and the conditions of subjectivity. The study is conducted within the framework of a cultural approach, drawing on the comparative-historical method, the analysis of cultural practices, and the interpretation of the interface as a form of mediation. As a research tool, it employs a scheme of subjectivity transformation that makes it possible to correlate the stages in the evolution of the user interface with changes in human subjectivity. It has been established that, as the interface evolves, not only does the form of human interaction with the digital environment change, but also subjectivity itself: from being the source of action, it shifts toward guided, reactive, hybrid, and partially predetermined participation. As the interface becomes more deeply embedded in the environment, it becomes less visible to the individual as an autonomous form of mediation. A pattern has been identified according to which increasing algorithmization, personalization, and environmental embeddedness of the interface are accompanied by a weakening of the human reflexive distance and a redistribution of their capacity to initiate, sustain, and reconsider their own action. It is concluded that, within digital culture, the interface functions as one of the key forms of cultural regulation, shaping cultural practices and, through them, human subjectivity.

Keywords: user interface, cultural practices, subjectivity, erosion of subjectivity, digital environment, mediation, algorithmization, agency, personalization, cultural regulation

Abstract: The subject of the research is the speech registers "yunbai" (rhymed speech) and "jingbai" (speech close to the Beijing colloquial language) in Peking opera. The author examines in detail aspects of the topic such as phonetic parameters (tempo-rhythmic, intonational, segmental), the distribution of these registers depending on character types and communicative situations (using the play "Yuitanchun" as an example), as well as the mechanisms of their semiotic functioning. Special attention is given not only to the established correspondences between the register and social status but also to situational flexibility, including switches between registers and the phenomenon of divergence between the form and content of utterances. The object of the study is the system of stage speech in Peking opera as a holistic cultural text, within which yunbai and jingbai form a binary opposition that encodes social distance, the degree of institutionality, and the nature of interaction between characters. The methodological foundation of the research is social semiotics as interpreted by the Tartu-Moscow semiotic school (Y. M. Lotman), as well as methods of phonetic analysis and contextual analysis of theatrical text. The scientific novelty of the study lies in the fact that, unlike previous works focused on the formal-phonetic differences between yunbai and jingbai, this work conducts a systematic analysis of them as a semiotic system from the perspective of social semiotics. Three main mechanisms for the formation of social meaning have been identified: opposition, correlation, and variability. It is shown for the first time that the distribution of speech registers is determined not only by the character's social status but also by the communicative situation, which can redefine the normative choice of register (for example, in the case of the character Chun Gundao switching from jingbai to yunbai in a courtroom scene). Furthermore, the phenomenon of "functional permeability" of registers has been discovered: stylistic characteristics associated with jingbai (irony, freedom of expression) can manifest within the framework of yunbai without formal switching of registers. The conclusions of the research indicate that the system of speech registers in Peking opera represents a dynamic semiotic field in which meaning arises from the interaction of stable structures and their variable realizations. This system facilitates the transmission of socially significant information while maintaining the flexibility necessary for artistic expressiveness.

Keywords: Peking opera, yunbai, jingbai, speech registers, social marking, semiotic system, phonetic variation, theatrical communication, role, communicative situation

Abstract: The article examines the theory and practice of the Chinese national theater movement (国剧运动) of the 1920s, initiated by Yu Shanyuán, Zhao Taimou, and their like-minded associates. It traces the formation of key aesthetic categories of the movement – the opposition of "xié yì" (写意, expressive abstraction) and "xiě shí" (写实, realistic representation) – in the context of the debate with the New Culture Movement and "Ibsenism" of the May Fourth period. The institutional efforts of the movement's participants and the publication of the weekly "Juyikan" are discussed. Special attention is given to the reasons for the practical failure of the movement and the subsequent reassessment of its theoretical legacy in the 21st century. The influence of the Irish cultural revival on the formation of the idea of "national theater" is analyzed, as well as the contemporary reinterpretation of the concept "Chinese represent Chinese content for a Chinese audience" in the context of global theatrical practices of the 21st century. The study relies on the historical-genetic method and textological analysis. The main source is Yu Shanyuán’s anthology "The National Theater Movement" (1927). The aesthetic concepts of the movement are examined in comparison with the ideas of the Irish theatrical revival and European director's theater. The novelty of the work lies in the comprehensive reconstruction of the theoretical core of the national theatrical movement through the lens of institutional and practical aspects, rather than merely theoretical declarations. It is demonstrated that Yu Shanyuán's concept of "national theater" is not a compromise between East and West, but a conscious synthesis in which the conditional-symbolic nature of the Chinese stage is preserved as a structuring principle, while elements of Western drama play a supportive role. It is established that the practical failure of the movement was caused not so much by its aesthetic conservatism, but by institutional immaturity and a mismatch with the dominant social agenda. The study's conclusions confirm that the ideas of the national theatrical movement, perceived as marginal in the 1920s, largely anticipated the mainstream explorations of Chinese theater a century later.

Keywords: national theatrical movement, Yu Shangyuan, xie yi, xie shi, Chengshihua, national theatre, Chinese traditional theatre, Zhao Taimou, Juyikan, intercultural dialogue

Abstract: The article is dedicated to the study of the creative evolution of V.I. Nemirovich-Danchenko (1858–1943), one of the greatest reformers of Russian theater at the turn of the 19th and 20th centuries. Unlike most works focused on his collaboration with K.S. Stanislavsky at the Moscow Art Theater, this study traces the cohesive trajectory of the master's development: from early literary and critical activities and dramaturgical experiments (1870s–1890s) through the creation and leadership of the MHAT (1898–1910s) to innovative work in musical theater (1919–1943) and pedagogical activities at GITIS. Special attention is given to the formation of key concepts of Nemirovich-Danchenko's school - "second plan," "subtext," "atmosphere," "ensemble," "conductor as co-director." The conclusion is drawn that Nemirovich-Danchenko's creative path represents not a change of stages but a consistent unfolding of a unified aesthetic program aimed at the synthesis of dramatic, musical, and pedagogical elements. The legacy of the master remains relevant for contemporary theater, particularly in the field of opera directing and directing pedagogy. The research relies on the historical-genetic method (tracing the evolution of Nemirovich-Danchenko's views), comparative analysis, and elements of intentional analysis (reconstructing the author's intent based on rehearsal transcripts, correspondence, and memoirs). The theoretical significance of the study lies in clarifying and deepening the understanding of Nemirovich-Danchenko's place in the history of Russian theater, overcoming the reductionist view of him as a "secondary figure" beside Stanislavsky. The practical significance is related to the possibility of using the research findings in courses on the history of directing, musical theater, and theater pedagogy, as well as in the practical work of contemporary opera and drama directors. Before becoming a world-renowned theatrical reformer, V.I. Nemirovich-Danchenko went through a significant path in literature. As I.N. Yudkin-Ripun rightly points out, "Nemirovich-Danchenko began as a writer, and his prose work deserves no less attention than his theatrical reforms." This early period (1870s–1890s) formed the toolkit for observing humans and characters, which would later become the foundation of his directing method.

Keywords: Vladimir Nemirovich-Danchenko, Moscow Art Theatre, Musical theatre, stage direction, second plane, subtext, active analysis, theatre pedagogy, opera direction, history of Russian theatre

Abstract: This article uses the example of Professor Lin Gan (1925–2023) from the Central Academy of Fine Arts as a micro-case to examine the process of establishing a system of art education in New China. It analyzes how individual pedagogical practice responds to the dialectical tension between state will, borrowed foreign models (primarily the Soviet system of art education), and the ontology of art – the internal laws of artistic creation. It shows that the formation of the new Chinese oil painting system was not merely a simple copying of Soviet experience, but rather a complex process of constant negotiation between ideological requirements, academic standards, and national aesthetic traditions. The historical logic of the evolution of Chinese education in oil painting is revealed – from politically engaged instrumentalism, through the stage of normative-scientific assimilation of the Soviet realistic school, to subsequent pluralism and organic localization of Western and Soviet techniques in the Chinese cultural context. A micro-historical and archival analysis is combined with visual analysis of images, comparison of teaching methodology documents, and processing of oral historical sources; systematic interpretation and in-depth study of pedagogical archives, artworks, and materials on Lin Gan's curriculum reform. The scientific novelty lies in the introduction of a three-level analytical framework of "knowledge transmission – institutional rooting – subject adaptation," allowing for the overcoming of the limitations of a macro-political approach. The micro-case of Lin Gan systematically reveals the path of endogenous modernization of Chinese art education: the Soviet plastic system was not mechanically copied but transformed in dialogue with the Chinese aesthetic of free style and calligraphic line. New archival materials (curricula from the Fourth Studio, authors' reflections) are introduced into circulation. Conclusions: Lin Gan's pedagogical practice demonstrates that modernization does not require a break with tradition or blind westernization. The success of the Fourth Studio disproves the binary opposition between academicism and contemporary art. Lin Gan's experience serves as a historical reference for constructing an independent Chinese system of art education in the context of globalization.

Keywords: Lin Gang, Chinese art education, Chinese artistic traditions, system of creative workshops, localization, Sino-Soviet relations, Studio system, curriculum reform, St. Petersburg Academy of Arts, School of Art History

Abstract: The article examines the original architectural heritage of the Kathmandu Valley, created by representatives of the autochthonous ethnic group – Newar architects. The regional style, developed by local craftsmen, represents a continuous, sustainable building culture, manifested in a wide range of architectural forms, including religious ones. The subject of this research is the types of religious buildings of the Kathmandu Valley, generated in the context of the tradition of Newar architecture. The purpose of the article is to develop the typology of religious buildings of the Nepal Valley, employing a comprehensive approach. The work is based on a methodology of interdisciplinary analysis, integrating tools and results of research in the field of archaeology, cultural history, ethnography, religious studies, and art history. The author applies the methods of analysis of scientific literature and visual material, natural observation of architectural monuments, “participance-observation” in festivals and ritual practices, non-standardized interview. The classification of temple buildings and the description of their characteristics were carried out using the methods of typological modeling, compositional, comparative analysis, and iconographic analysis of facade décor. The study explicates the typology parameters of various religious buildings (genesis, symbolic conception, ritual functions, position in external space, planimetric and compositional design, decoration), on the basis of which the main types of architectural forms are identified: the temple-“pagoda” tallakara (dega), the temple in the form of a Newar dwelling dyochhe[n], the sanctuary pitha, the moveable chariot ratha. The article also defines mixed types (rectangular tiered temple for tantric deities, palace temple-tower), categories of buildings related to the main types (agamache[n], altars digu-dyo), compositional and planning variations of degas. The influence of the mountain landscape, the monsoon climate of the valley, the peculiarities of the organization of socio-religious life and urban planning inherited from the Kirata people, the Hindu-Buddhist religious syncretism, the traditions of tantrism and the role of the shakti cult, the active festival movement on the formation of the types of Newar sacred architecture has been emphasized. The scientific novelty of the research lies in the fact that this is the first experience of a comprehensive analysis of the typology of religious buildings in the Kathmandu Valley. The author expanded and systematized the list of architectural types to be characteristic for the regional building style, identified their origins, compositional, constructional, decorative and iconographic features, revealed functional peculiarities and interconnections. Specific architectural terminology has been also introduced into the scientific usage.

Keywords: Nepal, Kathmandu Valley, traditional architecture, cult architecture, Newar architectural style, typology, deity house deochhe, pitha shrine, ratha wheel temple, tallakara pagoda temple

Abstract: This article comprehensively examines museification challenges for vernacular and outsider art environments—unique spatial settings created by self-taught artists beyond professional art systems, markets, and institutions. These sites synthesize material heritage (architecture, artifacts) and intangible elements (authorial mythologies, cultural codes), forming distinct cultural landscapes requiring specialized preservation approaches. The study aims to identify sociocultural, methodological, and legal barriers hindering the integration of such environments into cultural heritage frameworks while developing effective Russian museification models. Its scientific novelty lies in systematizing these complex phenomena as interdisciplinary subjects and proposing tailored legal preservation mechanisms for Russia’s context. Methodologically, the research employs case studies of successful international precedents (Ferdinand Cheval’s Ideal Palace in France; Howard Finster’s Paradise Garden in the USA), comparative analysis of Russian, Italian, and U.S. legislation, legal modeling techniques, and expert assessment of a Russian case study: artist Yuri Antonov’s apartment-studio in Vyritsa. Key findings reveal critical gaps in Russian heritage law, including the absence of a formal "vernacular heritage" definition and identification criteria, severely obstructing protection efforts. Legal conflicts emerge during residential property museification, particularly regarding status ambiguities (residential vs. non-residential) and owner obligations. Analysis confirms the efficacy of international funding models combining grants, tax incentives, cultural tourism revenues, and state subsidies. The study demonstrates the necessity of balancing public preservation interests with owner rights, evidenced through both restrictive measures (e.g., Italy’s heritage codes) and incentivizing mechanisms (e.g., tax relief under Russian Federal Law No. 73-FZ). Concrete regulatory proposals for Russia include: legislative recognition of "vernacular heritage," simplified property requalification procedures bypassing standard housing restrictions, tax benefits for owners, compulsory acquisition protocols for at-risk sites, and cultural cooperative frameworks. The practical significance targets enhancements to Russia’s heritage legislation (Federal Law No. 73-FZ), regional preservation programs for outsider art, and methodological guidelines for museums and cultural tourism. The Antonov case underscores local communities’ pivotal role in identifying vulnerable heritage and the urgent need for responsive legal safeguards enabling timely protection and museification.

Keywords: Contemporary art, Vernacular environment, Outsider art, marginal Culture, urban communities, legal system, museification, legal regulation, cultural heritage, culture