Abstract: This article explores the practical shift of China’s youth internet subculture in the digital era, aiming to advance the localization and mediatization of subculture theory and develop a context-specific theoretical framework. It reveals that digital technologies reshape subcultural expression through technological affordance, algorithmic recommendations amplify subcultural dissemination, and platform rules subtly regulate content production. Subcultures have evolved from “self-entertainment and self-expression” to “transcendence and integration,” with youth practices shifting from “resistance” to “participation,” and discursive strategies blending subcultural symbols with dominant ideologies. Using a multidimensional approach – combining theoretical analysis, case studies, policy interpretation, and technological examination – the study investigates how digital technologies, political regulation, and youth cultural practices interact to reconstruct subcultures. The article’s innovations include: moving beyond the traditional “resistance-incorporation” paradigm to propose a localized framework integrating “soft resistance” and “active participation”; analyzing the shift from “subculture” to “new dominant culture” through the dual lens of technological affordance and cultural policy; and examining digital technologies’ role in subcultural formation, dissemination, and development from a cultural studies perspective, offering fresh insights for localized subculture theory. The findings highlight a mediatized existence for China’s youth internet subculture, driven by technology, politics, and youth agency. Subcultures now engage in complex interactions with dominant culture, transcending marginality. This reconstruction enriches online culture, facilitates the transition to a “new dominant culture,” and provides youth with new spaces for cultural identity and value expression.

Keywords: subjective practices, localized theory, platform rules, algorithmic recommendations, new dominant culture, technological affordance, the digital era, youth Internet subculture, subculture reconstruction, Mediatized existence

Abstract: The theme of the "spirit of place" has long been popular in modern architecture and environmental design, which was developed by the Norwegian architect Christian Norberg-Schultz in the 1970s and 1980s. This idea turned out to be close to Chinese designers, especially those of them who inherited the ideas of the literati (wenren), and through the prism of Western ideas they took a new look at their own tradition. The purpose of the study is to identify some characteristic features of modern Chinese design culture associated with the influence of the literati on it. We believe that this specificity is largely related to the poetics of memories, the understanding of space as a series of images transforming and flowing into each other, "metamorphoses of being." The object of research is the products of the artistic and design culture of the literati and designers rethinking their tradition. In the course of researching the traditional aesthetics of literati, we rely on the works of the Russian sinologist V. V. Malyavin, as well as on Chinese and Japanese authors. Speaking of the modern version of this aesthetic, we turn to the texts and projects of architect Wang Shu, designer Song Tao, photographer Sun Jun, etc. Initially, wenren is a man of high moral qualities, then a scientist and an official. Traditionally, the life of the literati is solitude and even hermitage, hence the theme of memories in their work. In addition, this is "amateurism", an unprofessional passion for the "elegant" – painting, music, etc. Aesthetically, it is an elegant, but unassuming beauty of the "ya". The tradition of "hidden meanings" and "pure offers" is also associated with the literati culture. Influenced to a large extent by the culture of the literati, many Chinese designers of the twentieth century turned to the poetics of memories and even the theme of nostalgia, interpreting space as a series of transforming images where the present is intertwined with the past, and the natural with what is made by human hands. The traditional concept of a "garden house" is certainly felt today, when the interior space is likened to a relief, and the relief is thought of as a dwelling.

Keywords: Wang Shu, nostalgia, spirit of the place, house-garden, poetics of memories, wenren, literati, Chinese design, Sun Jun, elegance ya

Abstract: The topic of the research is the artistic image of Macau in the process of interaction between Eastern and Western cultures. The object of the research is the stages of formation of this image, starting with traditional art, modern artistic image and development of public artistic practices. The study of the evolution of the artistic image of Macau through the analysis of works of Chinese and Western artists allows us to demonstrate how the interaction of cultures influences the formation of a unique artistic image of the region. The methodological basis of the work was the historical-biographical and comparative-historical approaches. The historical-biographical method allows us to focus on the influence of the biographical aspects of the artists on their work. The main conclusions of the study are that the artistic image of Macau is the result of a unique process of cultural synthesis, in which Eastern and Western traditions mutually enrich each other. This process, which began in the Ming Dynasty, continued through Portuguese colonization and remains relevant to this day, demonstrating the importance of cultural interaction in the creation of outstanding works of art. Macau has had a significant influence on the formation of the style of such artists as George Chinnery and Augustin Bolger. The novelty of this study lies in its use of a comparative historical method, which, combined with biographical analysis of artists such as Chinnery, demonstrates how their personal experiences and cross-cultural interactions are reflected in their works, shaping the unique artistic identity of Macau. The results obtained contribute to a deeper understanding of cultural processes and can be used to develop strategies for the preservation and promotion of the region's unique cultural heritage.

Keywords: cultural exchange, History of Art, artistic development, urban culture, urban context, cultural trends, development trajectory, interaction between East and West, artistic image, Macau art

Abstract: Indigenous cultures around the world face unprecedented challenges and are often in danger of extinction. The preservation of the cultural heritage of these peoples is an important task not only for themselves, but also for all mankind. These cultures possess valuable knowledge and traditions that have developed over the millennia and open unique prospects for the development of the world. The loss of indigenous knowledge and practices is an irreparable loss for all of us, as we are losing part of the cultural heritage of all mankind. The indigenous peoples of Panama have a rich cultural heritage deeply rooted in their traditions and beliefs. The Guna people living in Panama and Colombia represent one of the most sovereign indigenous communities in the world, with extensive land holdings and self-government rights. They are known for their colorful traditional clothes, intricate manners, beliefs, and strong sense of community. The relevance of the topic is since in a world that is becoming increasingly homogenized, the preservation of indigenous cultures ensures that this cultural diversity will not be lost due to the impact of globalization. This article is devoted to the problems of preserving the material and spiritual heritage of the Guna people living in Panama and Colombia. The lifestyle of the Guna Indians, their traditions, worldview and definition of the role of man in the world are unique and of great interest for research. The authors of the article analyze the distinctive features of the Guna cultural heritage and highlight current phenomena and processes that pose a threat to the preservation of the traditional way of life of this people. Understanding the history and traditions of the indigenous Guna people is essential to preserve their culture.

Keywords: Guna Indians, migration crisis, tourism, beliefs, culture, traditions, history, autonomy, Colombia, Panama

Abstract: The purpose of this work is to define the semantics of coloratives in the artistic discourse of one of the brightest representatives of the first wave of Russian emigration, Boris Poplavsky. His work is a kind of aesthetic experiment, which is carried out at the level of form, content, and naturally poetic language. The subject area of the study is the lyrical texts of B.Y. Poplavsky, they are concentrated in comparison with the author's prose and have proper color nominations that expand the semantic halo of the author's artistic world. The analysis of the semantics of coloratives makes it possible to identify the stylistic dominants of Boris Poplavsky, to compare his writing style with a number of experimental artistic trends of the early twentieth century. The discursive nature of B.Y. Poplavsky's writing is deliberately associated with the expansion of the semantic boundaries of a literary work. The continuous sampling method is not the main one in the work, because the purpose of the article is not to concretize the statistics of the use of a particular color, but to identify the functional limits of the color palette of B. Poplavsky. This does not contradict scientific research, the content layer is the main one within the framework of cognitive linguistics, sociolinguistics, semiotics. The results of the work can be used in university practice, when studying the poetics of B.Y. Poplavsky's texts, determining the specifics of his artistic orientations. In our opinion, Boris Poplavsky's poetry is the most advantageous for illustrating the color significance, since his texts are focused on visual arts – surrealism, avant-garde, and modernism in general. The novelty of work in building a systematic and holistic hierarchy of color in Poplavsky. At the same time, it can be noted that the functional load of the coloratives is not uniform. We have identified such options as emotional-evaluative, nominative, axiological, receptive, and, of course, visual (figurative). Boris Poplavsky's poetic cosmos is verified due to color combinations, it is important that semantic expansion is not excluded.

Keywords: artistic image, semantics, color, color vocabulary, lyrics, Boris Poplavsky, visual art, sense, reception, style

Abstract: The article is devoted to the study of the role of traditional Chinese instruments in the chamber and symphonic music of Tan Dun. In this aspect, such works as Ghost Opera, Concerto for String Orchestra and Pipa and Crouching Tiger Concerto are analyzed. The authors consider in detail various types of interaction between traditional Chinese instruments and Western ones in terms of their influence on the general artistic idea of Tan Dun's works, as well as in the context of the relationship of the timbre side of music with other elements of the sound fabric. In connection with the problems of the article, some aspects of the concept of "organic music" by Tan Dun are also touched upon, the origins of which are found both in traditional Chinese culture and in Western music of the XX century. Thus, the multicultural nature of this original artistic concept is revealed. In the course of the research, the authors turned to the methods of holistic musicological analysis, comparative analysis (comparison of Ghost Opera and Concerto for String Orchestra and Pipa), comparative cultural method. Based on the analysis of Tan Dun's works, the authors conclude that national instruments are interpreted by the composer as carriers of Chinese culture and, interacting with Western instruments, act as subjects of multicultural dialogue. Depending on the concept of a particular work, traditional Chinese instruments in the composer's works can be represented as characters of instrumental theater, members of an instrumental ensemble (orchestra) in the context of Western musical genres, as well as as sound images reproduced by other instruments. The authors identify the application in Tan Dun's music of two concepts of working with musical material borrowed from different cultural traditions: collage and symbiosis. The article provides a rare example of using both methods of work in relation to the same musical material, which was implemented by the composer in Ghost Opera and Concerto for String Orchestra and Pipa.

Keywords: Crouching Tiger Concerto, organic music, Chinese New Wave, organic materials, synthesis of cultural traditions, Ghost Opera, multicultural dialogue, Concerto for Pipa, traditional Chinese instruments, Tan Dun

Abstract: The article focuses on the problem of the mutual influence of traditional Chinese string music and the "cultural inoculation" of Western European strings, in particular, the violin. The historical materials related to the existence of instrumental music are studied: elite palace and folk music associated with cults and holidays. The author's attention is drawn to the problem of the absence of writing compositions in the centuries-old tradition of China, the possibility of acquiring musical and cultural monuments exclusively in oral form – from teacher to student. The ways of the influence of Western European music education on changing the current situation towards the greatest possible preservation of this heritage are reviewed. As a result of a detailed analysis of compositions for national stringed instruments, both solo and ensemble, and comparing them with the parallel developing violin art in the country, the mutual influence of the traditions of the East and the West in this highly specialized field of professional music is investigated. The historical-comparative method allows us to reconstruct the picture of the existence of instrumental ensembles and genres in previous centuries and to find differences with modern concert practice. The methods of structural, grammatical, semantic, and genre analysis help to find parallels in the development of music for national and Western European strings in modern China. A special contribution of the author is that for the first time points of contact were found, both the features and similarity of performing techniques were emphasized, the rise in popularity of violin art in the country was explained due to the similarity of many methods of violin and erhu sound production. The transformation of playing techniques on stringed instruments of the Celestial Empire and classical symphony orchestra as a result of mutual diffusion is considered; the evolution of synthetic genres based on the structural patterns of Western European forms, but enriched with Chinese methods of variation, ladoharmonic and melodic features is traced. The main result of the article is the finding of many common vectors of development both in the compositional art and in the performing methodology of erhu, banhu, sihu and other national strings and the entire family of stringed instruments of the classical symphony orchestra.

Keywords: Liu Tyanhua, Ma Sicong, China, composition, synthetic genres, playing methods, chines traditional strings, arhu, violin, Silk bamboo

Abstract: The subject of the study is a set of approaches and paradigms chosen by the authors to study the cultural environment of the city. The purpose of the work: a theoretical analysis of the variety of approaches to the definition of "cultural environment" in relation to the original category "culture." The object of the study is the definition of "culture" and "cultural environment" as part of the methodology for researching the cultural environment. The author considers in detail such aspects of the topic as general ideas about the cultural space, association with the category "culture" and features of the new, and integrative approach, according to which the cultural environment appears as a really perceived physical space, the area of implementation of cultural activities within the framework of socio-cultural communities, individual persons, axiological component of the cultural environment in the system of value coordinates, motivations and meanings, combination of axiological, information-semiotic and perceptual-aesthetic approaches to the study of the cultural environment. The relevance of the study consists in the need to understand the variety of research approaches to the study of the cultural environment, aimed at developing models of cultural policy at the regional and municipal levels. The scientific novelty of the study lies in understanding the essence of methodological paradigms emanating from the integrative definition of the cultural environment of the city. Another conclusion is related to the fact that culture in general, and the cultural environment in particular, determines axiological parameters, sets a system of value coordinates, motivations and meanings for man and humanity. The results of the work consist in understanding the existing methodological approaches to the study of the cultural environment of the city, determined by its integrative definition. The scope of the results: the scope of regional and municipal cultural policy.

Keywords: metaphysical meanins, anthropocultural component, supra-biological needs, cultural work, cultural communications, methodological principles, paradigms, research approaches, culture, city cultural environment

Abstract: The author analyzes various aspects of the modern popular culture of kawaii. The connection between sweetness and the terrible in kawaii aesthetics is clarified. It is emphasized that the roots of kawaii go back to the Japanese culture of the past and today's total spread of the cute in Japanese everyday life is reflected in politics, government, business, the military complex, art, influencing all spheres of society and manifesting itself as a key component of the national identity of the Japanese. Attention is focused on the aesthetic category of yami-kawaii. Creepy kawaii understands the works of Japanese artists and the youth subculture. The connection of kawaii and yami-kawaii is shown. The subject of the study is the images of Japanese artists of the XX – XXI centuries. A characteristic feature of the art of which is the excessive depiction of the cute, indicating a connection with modernity. Comparative historical and iconographic research methods based on cultural, philosophical, and art historical scientific materials were used. The relevance of the topic is due to the need to explore new trends in art, with the need to rethink classical, aesthetic categories, in connection with the catastrophes of the XX – XXI centuries, which changed European culture and left an indelible mark on Japanese culture. The novelty of the research lies in an attempt to analyze the phenomenon of kawaii in a dual aspect: kawaii of the sweet and kawaii of the terrible in the art of Japanese artists, based on the phenomenon of fear as the driving force of yami-kawaii, as well as using the aesthetic category of "kawaii" as an all-pervading characteristic of mass culture. The yami-kawaii style is an independent aesthetic category, widespread by the youth subculture. The popularity of the "sick" kawaii as a crude grim reality is applied in the marketing of the industrial industry. Infantilism manifests itself as a defense, a psychological barrier in search of support and sympathy. The aesthetics of kawaii mildness acts as one side of the coin, the other is the internal conflict of society – fear, helplessness, depression. The yami-kawaii subculture is an expression of the aesthetic phenomenon of suffering and fear.

Keywords: painting, fear, Japanese culture, yami-kawaii, Kawaii, aesthetic categories, suffering, modern aesthetics, Popular culture, consumer society

Abstract: The subject of the study is the mutual influence of the compositional ideas of the Chinese-American composer Zhou Wenzhong and the French-American composer Edgar Varese. Edgar Varese, known as a composer and innovator who had a significant influence on the concepts of the post-war avant-garde, was also a brilliant teacher. One of his students was Zhou Wenzhong. Subsequently, Zhou Wenzhong became the editor of Warez's works, his biographer, an indispensable assistant and keeper of the archive. The article presents the facts of Zhou Wenzhong's biography, special attention is paid to the study of the composer's period of study with Varez, the trajectory of his influence, and the pedagogical principles that he adhered to in his teaching. Zhou Wenzhong needed to assimilate the innovations of Varese, form his own compositional style, based on the cultural traditions of China, forming points of intersection with the ideas and concepts of the avant-garde in cross-cultural interaction. The work has an interdisciplinary character, mediated by a key trajectory – the problem of the interaction of musical cultures of the East and the West. The author relies on source-based, analytical, comparative, historical and theoretical methods. Zhou Wenzhong (1923-2019) is one of the most influential and major American-Chinese composers. Despite the importance of this person, his work is still unexplored in Russian musicology, and therefore, filling this gap in the history of the development of new compositional trends in Chinese music, which marked the beginning of the phenomenon of the "New Wave" (after 1978), seems extremely relevant and important. The scientific novelty of the study is associated with the introduction into scientific use of information about the American period of Zhou Wenzhong's work – the time of his studies with Edgar Varese.

Keywords: The keeper of the archive, Editor, Ionization, China, cross-cultural influence, Edgard Varèse, Zhou Wenzhun, Composer, Nocturnal, Colin McPhee

Abstract: The author of the article offers the analysis and dissection of the image of Peter Verkhovensky, one of the main characters of F. M. Dostoevsky's novel «Demons» (1872). The prototypes of the hero from the history of Russia of the XIX'th century are considered in detail, on the example of S. G. Nechaev and M. V. Petrashevsky. The image of a character from F. M. Dostoevsky's novel is analyzed. The author pays special attention to the review of the hero's representation in three post-Soviet film adaptations from 1992 to 2024. The author analyzes the characteristic features, behavior and motivation of the character of Pyotr Verkhovensky from the novel in the screen adaptations, their independent evolution within the cinematography, how and to what extent the image changes depending on the actual socio-cultural context of the time and its positioning. This study used hermeneutic and dialectical method to analyze the form of representation of the image of the character in post-Soviet cinematography, as well as the theory of cultural hegemony of A. Gramsci is used to study the reasons for the changes and representation of the hero by the authors of film adaptations. The novelty of the study lies in the complex consideration and analysis of prototype images from real history. The key character from F.M. Dostoevsky's novel is studied, delving into the writer's worldview and perception of the revolutionary movement and individual personalities. The author examines the representations of the character in the domestic cinematography on the example of screen adaptations of «Demons (Nikolai Stavrogin)» 1992, «Demons» of 2014 and Sergey Arlanov's new mini-series 2024 «Qlipot». Attention is paid to the context of actual events for their time, which influenced the formation of the image of the movie hero.

Keywords: Hermeneutics, Dialectics, Cultural hegemony, Representation, Film adaptation, Gramsci, Cinematograph, Demons, Peter Verkhovensky, Dostoevsky

Abstract: The object of the study is the intangible heritage of Russian folk arts and crafts as a phenomenon of traditional culture. Special attention is paid to the object content of the intangible heritage of crafts, as well as the forms of their preservation and actualization. The research originates from the definition of the concept of the intangible heritage of folk arts and crafts. The concept of the bearer of the intangible heritage of crafts is formulated. The definition of the morphology of the intangible heritage of crafts is based on the analysis of the intangible part of the artistic, industrial, ethnocultural and religious heritage of crafts. An important part of the study is the analysis of modern practices for the preservation and actualization of the intangible heritage of crafts in order to develop optimal forms and methods. The importance of such a form of preservation and broadcasting of the intangible heritage of folk arts and crafts as museification is emphasized. The definition of the concept of intangible heritage of crafts and the structural analysis of this fragment of cultural heritage was carried out on the basis of recognition of heritage by systemic education. The scientific novelty of this study lies in the definition of folk arts and crafts as a phenomenon of traditional culture, the key component of which is tradition, objectified, first of all, in an immaterial form. For the first time, the definition of the concept of the intangible heritage of folk art crafts is given based on the analysis of historiography and legislative practice, and a morphological analysis of this type of heritage of crafts is given based on the generalization and analysis of the experience of its preservation and actualization. The intangible heritage of artistic crafts - the artistic and pictorial language of handicrafts, techniques and technologies for their manufacture and decoration, social ways of transmitting knowledge and skill, customs, way of life and lifestyle in the craft - are of high value from an informational and axiological point of view and need to be preserved and broadcast.

Keywords: updating the heritage, Folk arts crafts, religious heritage, ethnocultural heritage, industrial heritage, art heritage, tradition, traditional culture, intangible heritage, cultural heritage

Abstract: The subject of the study is the fundamental methodological principles of teaching students graphics, animation and computer graphics artist by the Department of Graphic Art and Communicative Design of the Institute of Media Communications, Media Technologies and Design: the principle of step-by-step creation of a drawing, its implementation from integral to elementary and vice versa, the principle of structural analysis of the transfer of form in drawing, active methods of attracting to strengthening mental activity, manifestation of creativity; in-depth study of the depicted nature; the use of visualization, problem statement, systematic organization of full-scale productions, joint discussions of completed works, comments of the teacher, spatial thinking, compositional construction; independent work. Purpose of the study is the application of methodological principles in working with students. Methods of the study are scientific, historical experience of development, application of methodological principles. Results of the study: the methodological principles of teaching drawing are partially implemented in the course of training an animation and computer graphics artist. Some shortcomings in working with applicants and first-year students have been identified. Not all stages of training of students from applicants to the last courses, their professional formation in the field of drawing are considered yet. The scope of application of the results: students of the field of training graphics, animation and computer graphics artist. The novelty is that these principles are applied specifically to this field of study. Conclusions: The methodological principles of teaching drawing for university students are investigated. The necessary methods and methods of education are highlighted. The necessity to trace the application of these principles from the first course to the last is revealed.

Keywords: teacher's comments, principle of visibility, entrant, texture, tonal drawing, perspective, linear-constructive drawing, graphics, spatial thinking, professional and artistic perception

Abstract: The subject of this study is current projects (installations, paintings, sculptures, performances) by contemporary South Korean artists that contain symbols, elements or cultural artifacts related to the local identity of the country. The article attempts to identify the main themes, motifs and techniques that are used in Korean contemporary art to emphasize the issues of the nation's self-identification within the global themes and problems of the modern world. To achieve this goal, the main South Korean artists recognized by the world art community (Kimsuja, So Do Ho, Lee Soo Kyung, Kwang Yong Chan, Pak Chang Kyung, Ham Kyuna, Yoon Seongnam) are singled out, whose work is directly related to the traditional cultural elements of their country. Their projects, themes and techniques are explored from the point of view of the interaction of global and local processes in modern society. The relevance of the work lies in an attempt to identify the unique processes taking place in contemporary South Korean art. Point studies of Asian artistic culture often include either the study of the creative path of individual artists, or the consideration of the main trends and trends. In this paper, an attempt is made to look at South Korean art from the point of view of topics and technologies that are inherent only in local Korean culture, and to identify points of contact with global issues and problems. This is the scientific novelty of the study. A number of contemporary South Korean artists create works of art based on their life experiences, directly related to the traditions of their country. Themes related to the search and reflection of cultural identity and self-identification arise in their works. The work uses both general scientific research methods: analytical and comparative, and a special method of art history: structural-functional.

Keywords: local identity, local korean culture, South Korean traditions, modern art techniques, global issues of art, South Korean contemporary art, South Korean contemporary artists, nomadism, contemporary art, hallyu

Abstract: The object of this research is the organization of visual culture in a vertically oriented paradigm. The subject of the study is the eidetic hierarchy as the basis for the organization of the visual environment in a vertically oriented paradigm. The purpose of this study is to explicate the eidic hierarchy as the basis of aesthetic representations in a vertically oriented paradigm. Modern culture has come to full aesthetic relativism under the influence of modernism. Today, everything is acceptable in art, so artists and designers are actively being forced out of the profession by neural networks. Neural networks are the product of a horizontally oriented culture in which any objects are recognized as equally valuable, since there is no appeal to the super-object. Therefore, today it becomes relevant to shift the focus of research attention to the opposite organization of culture – vertically oriented, recognizing transcendent reality. Such a culture should have clear criteria of art, determined by the eidic hierarchy. In distinguishing the vertically oriented paradigm, the author relies on A. G. Dugin. The author's main method is semiotic analysis, which makes it possible to see the transcendent signified in culture. The author also relies on Plato's teaching about the eidetic hierarchy of being. The main conclusion of the study is that in the vertical oriented paradigm there is a clear aesthetic hierarchy, which is absent in culture today due to its horizontal orientation. The vertically oriented paradigm is associated with the idea of the eidic hierarchy of being. The canon, which has been developing for centuries, has been a tool for depicting the eidic forms of things, not phenomena, but noumens. Reorientation to the presence of a super-object can be an opportunity to preserve the profession of an artist and art itself from aesthetic relativism.

Keywords: signifier, super-object, transcendent, vertically oriented paradigm, horizontally oriented paradigm, flat ontologies, canon, Symbol, signified, sign

Abstract: The subject of the study is Maurice Ravel's "Spanish Rhapsody" arranged for two pianos. The purpose of this article is to consider the genre features of the work, based on the refraction of the principles of rhapsody and suite. The performing means used by the composer in the implementation of the program idea of the work are also of research interest. The methodology of this study was made up of holistic and comparative approaches to the study of a musical composition. The novelty of the article lies in the fact that the study generalizes and concretizes the features of form formation in the work, which contributes to the study of the composer's creative method, the study of his peculiarities of working with cyclic forms. In the course of the study, the author comes to the conclusion that in M. Ravel's "Spanish Rhapsody" the features of directly rhapsody are reflected, expressed as a comparison of contrasting folklore layers in a single whole, features of suite, expressed in a generalized interpretation of Spanish imagery on the one hand and the composer's appeal to the genre models of a baroque dance suite, on the other. In addition, the suite principle in the structure of the form of the work is embodied in a specific impressionistic refraction of the genre features of Spanish dance folklore in each of the parts of the form. The obtained results of the work will contribute to the conscious interpretation of M. Ravel's "Spanish Rhapsody" arranged for two pianos from the point of view of the principles and laws of shaping and pianistic means of impressionistic expressiveness in the expression of Spanish images in music.

Keywords: programming, habanera, malagenia, spanish dancing, musical impressionism, spanish folklore, suite, rhapsody, Maurice Ravel, Ravel 's Spanish Rhapsody

Abstract: The object of the study is contemporary works of public art installed in Russia and Europe. The subject of the study is the development trends of various forms of Western and Russian public art in its relationship with the urban environment. The purpose of the article is to analyze public art projects presented in the USA, Western Europe and Russia, determining their place in the urban space and their impact on public consciousness. Since this study is interdisciplinary in nature, its methodology involves the use of an integrated approach. In the work on the article, the methods of modern art history were used, aimed at theoretical and art criticism understanding of the period of development of the public art phenomenon. One of the key research methods was a sociocultural analysis, in which the author of the article examines the features of the relationship between Western and Russian public art works with the urban environment, revealing the patterns of their historical development and the reasons for their actualization in the space of a modern city. The semiotic method made it possible to interpret public art objects in terms of their meanings and cultural patterns, which are significant for the construction of urban space. The research materials have theoretical and practical significance and can be used in the preparation of lecture courses, scientific research, publication of materials for art historians, cultural experts, historians and philosophers involved in the study of the phenomenon of public art. Considering public art in a historical and cultural context using the works of American, European and Russian artists as an example, he proves that art objects installed in city blocks are part of the modern urban environment and, having fit into the broad context of visual art, coexist in union with urban design and national the specifics of the region. But if public art in the West tries to solve the material problems of citizens, then Russian artists working in the style of public art strive to create an atmosphere of intellectual development and emotional experience.

Keywords: monumental and decorative art, monument, sculpture, urban environment, public space, public art object, public art project, public art, genre, contemporary art

Abstract: The article outlines two directions of comprehension of the existential phenomenon of musical art (cataphatic and apophatic) throughout the history of culture within the framework of the Christian-Eurocentric tradition. The basis of methodological research includes Christian-idealistic and Christian-anthropological positions. These provisions of objective idealism contain a part of the Creator's Plan in the realization of his Image. The presentation of the main trends is presented in a contrasting ratio, which is characteristic of musical compositional thinking. The discourse of the problem is expressed in a cataphatic-preaching form. In the process of considering this phenomenon, the method of synthesis of ideas about music was applied as a reflection of the human being of such domestic thinkers as A. S. Klyuev, A. F. Losev, V. V. Medushevsky, M.O. Orlov, O.V. Leontieva and foreign philosophers R. Ingarden, A. Schopenhauer, F. England, D. Turner. The author makes an attempt to update the musical discourse from the perspective of Eurocentric Christian traditions by including the language of theology in it. Research in a given direction reveals the deep foundations of musical creativity, which arouse interest in the social significance of the master creator, leveled by post-industrial society. The scientific novelty of the research is contained in the choice of sources that reveal the European understanding of the existential essence of musical art as a historically formed part of the musicological discourse. According to the results of the study, it can be concluded that, unlike other types of art, music remains irreconcilably resistant to various forms of evaluation and paraphrasing, explanation and description. The essence of human existence is fully reflected in the musical art.

Keywords: cataphatism, discourse, transcendence, time, space, confession, human being, internal conflict, musical art, apophaticism

Abstract: The author analyzes various aspects of the role of women in the society and culture of China of the late XX-early XXI centuries, a special place is occupied by the analysis of family relations, education and artistic creativity of women. The subject of the study is women, the transformation of their status in society and culture, in particular, in the modern pictorial art of China. It is emphasized that at the end of the XX century there is a reassessment of values, the motivation of young people in the family sphere changes, the traditional importance of the family is lost due to state regulation of family relations. Comparative historical and iconographic research methods based on culturological, philosophical and art-historical scientific materials were used. The relevance of the topic is due to the increased interest in Chinese culture and the changing attitude towards women in society and culture. The novelty of the study is an attempt to trace the impact of modernization on the status of Chinese women, taking into account the availability of higher education, gender imbalance in society and culture. It is concluded that obtaining higher education, career development, personal freedom, participation in business, in the socio-political and cultural life of society, becomes a priority for a woman, putting marriage and family values at risk. It is revealed that the negative influence of mass culture leads to the decline of morals, psychological disorders, social infantilism. In contemporary art, Chinese female artists use unconventional artistic techniques to express their "I" in painting, but innovative methods of self-expression are less recognized than those of male artists, as well as defending their point of view and philosophy. The intertwining of cultural heritage and modern values have shaped the path of development of Chinese women's art.

Keywords: gender imbalance, contemporary art, social status, culture, education, modernization, social contradictions, women's painting, Confucianism, family values

Abstract: The article deals with the problems of preserving the Ossetian cultural heritage in the context of globalization. The purpose of this article is to analyze the main challenges to the Ossetian culture and practical recommendations aimed at preserving it. Special attention is given to the objects of cultural and natural heritage located in the territories of both North Ossetia-Alania and the Republic of South Ossetia. The methodology is based on a generalization of empirical data and comparative analysis related to cultural heritage in a state that does not have a generally recognized status. Particular importance is attached to a number of important documentary sources, in particular, UNESCO conventions and declarations, along with expert assessments. The novelty of the study is due to considering, indeed, for the first time, the problem of cooperation between the international organization that deals with the preservation of cultural heritage on the global scale, viz. UNESCO, and the state only partially recognized. The author comes to the conclusion that the Ossetian culture, on the whole, successfully resists the challenges of globalization: the national way of life, language and traditions are preserved despite the division of the ethnos by the Caucasus mountain range. However, there is a problem of preserving tangible cultural heritage on the territory of South Ossetia due to existing geopolitical situation that has resulted in the republic remaining underrepresented on the international platforms.

Keywords: UNESCO, Ossetia, international organizations, universal value, preservation of cultural heritage, international collaboration, Alanian heritage, ossetians, globalization, culture

Abstract: The subject of the study is the Spanish-Moorish Mudekhar code in the cultural landscape of the Crimea. The object of the study is the Spanish-Moorish stylistics in the decor of the architecture of the Crimea. The following methods are used in the work: culturological (ontological and semiotic) analysis in determining stylistic elements, the method of analysis of previous studies, the method of synthesis in identifying stylistic features of the Crimean architecture of the Modern period. The article reveals the following aspects of the topic: the features of the Spanish-Moorish Mudejar style and its application in the architecture of the Crimea of the Art Nouveau period, as well as the reasons for the popularization of this code in the cultural landscape of the Crimea are identified. The main conclusions of the study are: 1. The multiethnic Crimean cultural landscape is represented by the cultures of ethnic groups that inhabited the Crimea from ancient times to the present day. The main factor in the identification and self-identification of ethnic groups is religious affiliation, reflected in folk traditions. Folk art is the most characteristic example of the manifestation of ethnic identity. 2. The spread of the Spanish-Moorish Mudekhar style in Crimean architecture is not accidental, since the synthesis of eastern and Western features is organic for Crimea, which has been lying on the way "from the Varangians to the Greeks" since ancient times, at the intersection of trade routes from Europe to Asia. The Moorish style has become part of both the geographical and cultural landscape of the Crimea, organically entering the architecture of summer palaces and mansions. 3. A special contribution of the authors to the development of the topic is the identification and justification of the Mudekhar code as one of the most popular in the Crimean Art Nouveau style. The scientific novelty of the research consists in the identification and stylistic analysis of the Mudekhar code in the Crimean cultural landscape.

Keywords: ornament, palace style, Spanish-Moorish style, architecture, Modern, Mudekhar, Crimea, cultural code, cultural landscape, decorative and applied art

Abstract: This article is devoted to the study of the ancient Balinese temple Pura Luhur Uluwatu, which belongs to the circle of the six most revered sanctuaries of the island (Sad Kahyangan). The purpose of the article is to analyze the features of the spatial organization of the temple complex, the main types of structures on its territory, the motives of sculptural decoration. Based on the methodology of the regional approach, the author pays special attention to the study of the identity of this architectural ensemble as an example of the pura public temples of South Bali. In the course of the research, the methods of compositional analysis of the planning structure of the temple, morphological, iconographic and artistic analysis of decor motifs, full-scale study of the cult object and others were used. The scientific novelty of the article is that the architectural composition and plastic decoration of Pura Luhur Uluwatu are considered for the first time in the aspect of the relationship of regional-typological and local-individual characteristics. The study also concretizes the list of architectural forms within each spatial zone of the main sanctuary and its satellite temple Pura Dalem Jurit, clarifies their structural and functional characteristics, outlines a holistic picture of the decorative decoration. As a result of the conducted research, it was concluded that Pura Luhur Uluwatu is a striking example of the sacred architecture of the southern region of the island with typological features inherent in it: variability of planning development, closeness, economical use of temple space, free interpretation of individual decorative motifs. The uniqueness of the temple is manifested in its spectacular location on the edge of a sheer cliff protruding into the ocean, the elongated plan of the main sanctuary, the contours of which repeat the outlines of the southwestern protrusion of the Bukit Peninsula, the extreme minimalism of structures and the means of decorative design used, the simplicity of architectural forms. The creative imagination of local craftsmen was reflected in the original configuration of the entrance gates Candi Bentar and Candi Kurung, as well as in the articulation of individual decorative elements (kasar mascarons, kalasa vessels, etc.).

Keywords: decorative motifs, forms of buildings, composition, temple complex, Pura Luhur Uluwatu, public temple pura, regional architecture, South Bali, temple architecture, typological features

Abstract: The paper deals with the features and functions of Russian Modernist manifestos. It is shown that proletarian writers adopted, refined and used in a specific manner for their own purposes some of the techniques implemented in the Silver Age theoretical declarations. This may account in part for the active use of the originally political term “manifesto” in the Soviet literary studies. In critical works from recent years one can observe a departure from this tradition.

Keywords: imaginism, futurism, acmeism, symbolism, manifesto functions, the Silver Age, declaration, modernism, manifesto, esthetics

Abstract: The magazine "Apollo" completes a number of symbolist magazines of the Silver Age and in a sense sums up the intensive artistic life of the late XIX – early XX century. Its pages captured the rapid and multidirectional artistic discourse of the turn-of-the-century era, which was analyzed in the article with the help of discourse analysis. Aesthetic manifestos published on the pages of the art magazine "Apollo" were chosen as the subject of this research, the object of the work was the evolution of aesthetic and philosophical ideas in "Apollo". The content analysis of the journal's materials allowed us to study the development of the ideas of symbolism and acmeism within the framework of the editorial program of Apollo, which was the purpose of this work. The magazine "Apollo" is traditionally perceived as a magazine that promoted the ideas of Acmeism, however, the analysis of published materials shows that an acute symbolist controversy unfolded on the pages of "Apollo" in the early 1910s. In addition, the study demonstrates that the ideas of Acmeism were very heterogeneous and did not receive the support of many members of the editorial board, who believed that Acmeism had not formed into a full-blooded literary phenomenon. The results of the research can contribute to theoretical knowledge about the "Apollo" magazine and the history of Russian journalism, as well as the history of the development of the ideas of symbolism and acmeism.

Keywords: symbolist journalism, symbolist magazines, Workshop of poets, symbolist discourse, symbolist manifestos, art manifestos, The Silver Age, Apollo magazine, acmeism, symbolism

Abstract: The subject of the research is the features of the "picture of the world" of the subculture of childhood in the information space. In the age of accelerated development of network communication technologies, this research topic is extremely relevant. After all, the development of the subculture of childhood in the information space and the emergence of new features of the "picture of the world" formed by the younger generation lead to certain socio-cultural consequences. The purpose of the work is to analyze the transformation of the subculture of childhood in the information space and identify the main features of the "worldview" of its typical representative. The interdisciplinary nature of the research determines the methodology of philosophical-cultural, structural-functional and sociological approaches. The scientific novelty of the study is that it reflects the main functions of the subculture of childhood in the information environment, which differ from the series of functional features previously presented in research papers. In particular, two cardinally new functions have been identified and justified – linguomaking and symbolizing, previously not found in other scientific works. The study also revealed differences between subsets of "children's subculture" and "childhood subculture", considered by most researchers of these phenomena as synonymous. The author's special contribution to the research of the topic is the formulation of a verbal portrait of a typical representative of the modern subculture of childhood, forecasting the further development of the phenomenon in the information space and the level of influence of its sub-formations on the forms of dominant culture and its orthodox representatives.

Keywords: the picture of the world, dominant culture, linguistic - creating function, symbol - making function, encryption function, resource, Internet, infoculture of childhood, information space, childhood subculture

Abstract: This article reviews a new model of repertory opera theater of production type, which has emerged at the intersection of traditional repertoire and project, or production theaters: it represents a special channel of intercultural communication. Opera performance creates a space simultaneously in several dimensions – musical, verbal, and visual; it resembles a form of polylogue of the authors and stage directors of the performance, becomes a realization of the dialogue of cultures, and turns into a unique form of art involving the representatives of different cultural systems. This is proven by particular artistic experiences of the dialogue of cultures in modern opera on the example of Ural Opera Ballet Theater in Yekaterinburg and its projects “Satyagraha”, “The Passenger”, “The Greek Passion”, and “Three Sisters”. A number of important ideas of theoretical and historical culturology find practical substantiation: the paramount prerequisite for the effectiveness of any activity – the unity of theory and practice is realizes in the sphere of artistic culture. It is determined that within the framework of repertory theatre, production direction must take consider the time requirements that are solved in the field of the dialogue of cultures. The article demonstrates that the dialogue of cultures manifests as the dominant trend in the development of theatrical culture, allowing a more effective response of the creative process to the demands of time. It is proven that the work created in the process of the dialogue of cultures, which contains polyphony of voices, requires peculiar work with the audience, who is also engaged in dialogue with the performance.

Keywords: Three Sisters, The Greek Passion, The Passenger, Satyagraha, Opera, Management, Repertory theatre, The dialogue of cultures, Director-producer, Ural Opera Ballet

Abstract: Many cities in China currently have a reputation of international centers of tourism. For example, Beijing simultaneously draws attention as a city of centuries-old history and a modern cultural center. Other cities, such as actively developing free economic zones (Shenzhen, Shanghai, Tianjin, Hong Kong, etc.) initially did not have cultural uniqueness that would form the cultural brand of the territory and turn them into a remarkable cultural center. This hinders the development of cultural tourism in these territories. The goal of this article consists in determination of the peculiarities and problems in the development of cultural tourism in the free economic zones of China, using the example of Shenzhen, Shanghai, Hong Kong and Tianjin. It is established that such peculiarities and problems is directly related to the fact that initially these zones had more of an economic orientation. On the one hand, this provides financial resources and makes these territories potentially promising for the development of cultural tourism; while on the other hand, it sets back the cultural component, focusing on the different forms of tourism, namely economic shopping tourism. It is emphasized that the key characteristics of the development of cultural tourism consist in creation of infrastructure for the cultural tourism and availability of resource for cross-cultural communications and multicultural tourism. Among the relevant problems of the development of free economic zones, the author notes the slower development of cultural tourism compared to the economy and economic tourism; lack of perception by the local authorities of the value of cultural tourism and integration of its resources into the development of free economic zones, insufficient scientific reflection on cultural tourism in these territories of China.

Keywords: brand, cultural tourism, China, free economic zones, Hong Kong, feature, Tianjin, Shanghai, Shenzhen, problems

Abstract: This research examines the transformation of symbolism and use of the visual family emblems (Mon) in Japanese culture of the late XIX century. The new era of Meiji marked the beginning of a new level in foreign policy and simultaneously the search for the objects of national identification in the past. Many cultural traditions of feudal time passed into history, except those transformed for this period. Mon, emerged in the feudal era, resemble the process of cultural transformation in the society of that time. The author applies the method of comparison and generalization in comparing the traditions associated with Mon of the feudal time and modern time. The scientific novelty consists in examination of the use and changes in the symbolism of Japanese heraldry of the late XIX century. This period became transitional towards the “mass” culture of the XX century. The emblems Mon for the first time received legislative recognition, regulated display system, and contributed to the creation Japanese system of awards, although faded its previous meaning of private emblems.

Keywords: transformation, feudal era, traditional culture, Meiji era, emblems, symbols, culture, elite group, culture change, award system

Abstract: In the present work, the analysis of old belief and its place in the Altai ethnic groups' structure is conducted. This research is a logical continuation of a series of works devoted to sociolinguocultural aspects of formation, development, and current state of ethnic groups of South Siberia: Shor, Khakas, Tuvans, and Altaians.In the period from the 60s to 80s of XVIII century, Russian settlements appeared in Altai, and a great number of Old Believers were exiled, mainly to the Uimon Valley in order to find a Belovode, and by the end of the XVIII century the process of consolidation of local population groups (Siberians) ends. It is necessary to note that in this process a significant role was given to the Old Believers both in terms of labor achievements and in the development of a spiritual culture of the region. They managed to preserve their own identity, beliefs, and culture and did not lose the distinctive features of the dialect.Old belief should be considered as a spiritual and religious trend that protects the foundations, rituals and ritual practice of ancestors, both in matters of religion and in the life of the community and family life. It is necessary to note the significant role of Old Believers in the improvement of artistic culture. Owing to them, many architectural monuments, icons, ancient books, manuscripts, songs, and many other things were preserved. 

Keywords: Altaians, Tuvans, Khakas, Shor, ethnic groups, Altai, culture, Old Believers, Uimon Valley, Siberia

Abstract: The article is devoted to money as an important element of Japanese culture and universal means that may be brought up in all kinds of discussions. Izotova analyzes the history of Japanese money from the point of view of the axiological concept, describes kinds of coins and banknotes that are presently used, and defines their peculiarities. Izotova focuses on the ethnocultural features of the Japanese monetary behavior and describes particular Japanese traditions, for example, to give money as a present, not to give tips and special attitude to cash. The research is based on the use of a set of methods such as contextual interpretative analysis, diachronic research method, comparison and theoretical summary of the results of linguistic material. The scientific novelty of the research is caused by the fact that there are very few researches of money in Japanese from the point of view of cross-cultural differences. Thus, this work makes a contribution to the concept of money as a conservative and national specific means of socio-cultural interaction. The results of the analysis give an oportunity to better understand value systems of Japanese and their ambivalent attitude to the role of money in the society. 

Keywords: yen, tradition, culture, denomination, banknote, coin, money, Japanese, kokorozuke, cash

Abstract: The article is devoted to the characteristic features of the perception by the French society of Arab-Muslim culture as one of the most noticeable problems of intercultural communication in modern Europe. The study of cultural stereotypes today occupies an important place in the analysis of the interaction of representatives of various ethnic and confessional groups both in the domestic and international arena. Thanks to a competent and thoughtful study of the perception of cultural differences and the interaction of different cultures, one can understand the roots of many problems in other areas of society. Thanks to such historical research methods as historical-comparative, historical-systemic and historical-genetic as well as the synchronic method of cultural research, the author reveals not only the characteristic features of French-Islamic relationships throughout history but also the mental characteristics of a person’s different culture intercultural relationships in historical perspective as well as at the beginning of the XXI century. For the analysis the author has used mainly the work of French-speaking and English-speaking researchers, public opinion polls as well as the most relevant publications in the media. As a result, it was found that despite the positioned and translated image of an Islamic-tolerant cultural environment, French society did not get rid of negative stereotypes regarding Islamic culture, demonstrates steady stereotyped ideas about the media of Arab-Muslim culture which are more noticeable in the current decade amid deterioration within and foreign policy situation and adversely affecting intercultural interaction.

Keywords: historical context, culturology, media, cultural stereotypes, stereotypes, intercultural communication, French-Arab relations, France, French culture, islamic culture

Abstract: The subject of this research is the aesthetic conception of a French philosopher Gilbert Simondon. The author of the article makes the main emphasis on Simondon's genetic hypothesis that describes several stages of how the connection between human and the world developed, in particular, the author focuses on the four stages: magic, technical, religious and aesthetic. Svirskiy pays special attention to the place of aesthetics as an intermediate link in these relations. The author of the article also discusses what Simondon called 'techno-aesthetics'. He demonstrates that techno-aesthetics implies a special type of perceptive intuition that defines the primary selection and distinguishing between acceptable and unacceptable that sets forth intuitive criteria for adoption or refusal from particular technical and artistic solutions as well as the fact that a technical object is not beautiful as itself because it has privileged points (key points) of the world that it represents. The research methodology is based on the reconstruction of Gilbert Simondon's philosophical position that is made in order to demonstrate specific features of his attitude to the aesthetic experience. The novelty of the research is caused by the fact that the researcher describes the place of the aesthetic attitude to the world or aesthetic thinking in a wider sense of the word as these are represented by the theoretical strategy of a famous French philosopher Gilbert Simondon. The researcher focuses on the 'techno-aesthetics' concept that is supposed to substantiate the emergence of the aesthetic and technical components in all kinds of design-and-engineering and artistic activities.

Keywords: analogy, technical object, fond, figure, transduction, subjectivity, objectivity, key-point, aesthetics, intuition

Abstract: The article is devoted to the literature that played the leading role in the development of socialist culture. Base on the analysis of creative writing by Z. Batotsyrenov, Ts. Don, S. Tuy and B. Baradin the researcher demonstrates peculiarities of the development of the Buryat literature in the 1920 - 1930s. Amgalanova emphasizes that the artistic movement of the after-revolutionary decade generally tried to fundamentally change the cultural life of the society by the means of re-evaluation of aesthetic vlues of traditional arts. Those changes included psychological realism, everyday writing style, and drawing from nature. In the 1930s ideological and political beliefs played the leading role in the development of artistic culture. The methodological basis of the research implies historical cultural approach, the main methods of the research are axiological, retrospective, and narrative methods. In conclusion, the author states that the main purpose of socio-humanitarian research is to perform an objective analysis of the repressive policy of the Soviet state, mainly reconstruction and return of the names of the workers of culture and science and their heritage to the artistic and academic environment. 

Keywords: writers of Buryatia, Buryat literature, national culture, ideology, cultural policy, socialist culture, art culture, creative heritage, repressive policies, repression

Abstract: The subject of the research is the bone carving as a folk artistic tradition. The rationale of the research is caused by the fact that the author analyzes the role of the bone carving tradition in the artistic activity of human. According to the author, this is the artwork that demonstrates human's ability to challenge the world seeking for beauty and harmony. Korolkov pays special attention to the definition of 'folk artistic tradition' because this is what creates traditions as a universal means of preservation of ethnic messages, values and identity. Moreover, folk artistic tradition has become the mechanism of preservation and trans-generation transfer of a combination of expressive means (word, colour, material, etc.) and aesthetic views and values of Northern nations. The author analyzes such aspects of the topic as the function of bone carving as to develop the surroundings. Based on the example of archeological excavations, the author demonstrates that bone carving is one of the oldest arts of the Russian North people. The author also describes the succession of bone carving masters in Northern bone-carving schools and institutional forms of culture. Thus, bone carving is becoming one of the factors of involvement into folk artistic traditions through generations and creates artistic aesthetic and moral ideas of the surroundings of Northern peoples. 

Keywords: phenomenon of national traditions, bone carving art, the peoples of the north, bone carving, carving, folk art tradition, culture, cultural heritage, art, craft

Abstract: Tsam is a unique Buryat theatre performance. In this article Zhigmitova pays attention to the funny (intermedia) component of the Tsam Mysteria that takes place outside the temple and meant for the wide audience. Based on the analysis of the researches published by historians, theatre theorists, ethnographers and the author's notes, Zhigmitova makes conclusions about the comic component of the dance, mostly presented through the role of Sagann Ubgun (White Elder). Tsam implies not only ritual actions but also folk elements which creates comism in a serious play. In her research the author has used such methods as the integral approach, field research method and descriptive method, direct observation, and interviewing. The scientific novelty of the research is caused by the fact that the author studies the mystery play from the ethnotheatrical point of view. This article presents only one of the lines of research of Tsam as a ritual popular in Tibet, India, Nepal and Buddhist communities of Russia. 

Keywords: Dancing of the gods, Dances in masks, Buddhist dances, White Elder, Interludes, Comic component, Masks, Tsam, Lamaism, Buddhism

Abstract: The subject of the research is sumo as a traditional Japanese wrestling that has the status of a national sport in Japan. The rationale of the research is caused by both the fact that there are not so many researches devoted to the topic, and a growing interest in Japanese culture which developed peculiar national traditions and protects them with special care. The aim of the research is to define typical features, the place and role of sumo in the socio-cultural life of a Japanese society. In her research Izotova describes the main stages of sumo developing and factors that have been influencing it. The researcher pays special attention to the description of ethnocultural peculiarities of wrestling rituals and ceremonies. The methodological basis of the research implies the interdisciplinary and integrative approaches. To analyze and interpret data, the author has used the method of structured description allowing to trace back the evolution of the wrestling in a diachronic aspect. The results of the analysis demonstrate that being an essential part of culture, sumo presents special cultural codes and develop its own semiotic system of mental senses, archetypes and relations that reflect the nature of Japanese people's values. The milestones of the development of sumo are closely related to social relations at different stages of historical development. Being created as a religious ritual, sumo has turned into a professional sport that is popular not only in Japan but also abroad. The  novelty of the research is caused by the fact that the author defines a regulatory function of sumo. The semantics of combats have preserved the mythopoetical content and have remained the same since the epoch of Edo. Rigid rituals and ceremonies that are rooted in shinto philosophy are transfered through generations and stimulate moral behavior of modern Japanese, contribute to the preservation and transmission of traditional cultural values. 

Keywords: dignity, culture, shinto, yokozuna, ring dohyo, ceremony, ritual, Japan, sumo, wrestling

Abstract: The article is devoted to the prerequisites of the hip-hop culture in terms of the late capitalism culture of the XXth century. The author of the article describes the formation of the main elements of the hip-hop culture against the backgrund of popular protest movements of yong people during the 1960 - 1980's in the after-war West. Western countries faced the disappointment of the wide strata of youth in political and economic valus. As a protest against the established regime, they created their own cultural movements. The methodology of this research is based on the historical comparative approach. Analysing social, economic, and political factors that have influenced the development of the hip-hop culture, the author of the article appeals to the historical roogs of hip-hop as a musical movement. Based on different examples, the author analyses particularities of the hip-hop aesthetics in dancing (break dancing), art (graffiti) and practice of using rhythmisized recitative (emceeing). At the present time the academic community does not offer a single approach to studying the hip-hop culture. The need to fill in this gap creates the rationale of the present research in particular and hip-hop researches in general. The author describes social, economic and political processes that have influenced the hip-hop culture. Focusing on the main milestones thereof, the author defines key changes that have accompanied the hip-hop culture from the moment it was created as a cultural movement and up to the present. 

Keywords: rap, aesthetics, philosophy, aura, post-modernism, hip-hop studies, graffiti, music, dance, hip-hop culture

Abstract: Manuel del Pópulo Vicente García is well known as the outstanding tenor of the late XVIIIth — early XIXth century, however, his composer legacy is no less important. Despite the import role of Garcia in the history of musical art, his work is little known. His compositions include Spanish songs, Italian and French works of the theatrical genre. Particular compositions of Garcia were very popular at the beginning of the XIXth centuries and frequently quoted by both composers and writers. Such celebrities as Isabella Colbran, Maria Malibran, Adolphe Nourrit and Manuel Garcia himself participated in premiere productions of operas. The author of the article also examines his influence on the works of individual composers and writers of the romantic era. Garcia's works are little-known worldwide and in Russia, since most of them are stored in the archives of France, Spain, Italy and the United States of America. The methodological basis of this research is the comprehensive approach. On the one hand, the author studies the creative biography of the musician, on the other - his operas as well as monographs and articles devoted to Garcia's legacy by foreign authors. The novelty of the research is caused by the fact that the author describes the biography and creative legacy of Manuel del Pópulo Vicente García who is little-known in Russia. The author of the research reveals more than sixty works of the theatrical genre, many of which were staged during the life of the author. Garcia's compositions are eclectic and combine various national styles.

Keywords: Italian opera, Manuel Garcia, bel canto, Spanish songs, opera, romantic era, creativity as a composer, French opera, tonadilla, national style

Abstract: The article is devoted to analyzing ethnic beliefs of hillmen living in Czechia and Poland based on published folklore sources. Legends about the origin of mining and specific characters of folk demonology related to the underground world represent particularities of folk traditions followed by Czech and Polish miners. In his article Murzin carries out a detailed analysis of Czech and Polish legends about the origin of mining. Results of analysing legends demonstrate the mining was believed to be started by the characters who had features of cultural heroes in folk legends. Those characters discovered mineral deposits in the region and founded the most important mountain cities in Czechia and Poland. The research is based on the historical typological and comparative historical methods. These methods allow to get a better understanding of particularities of the legends about the origin of mining in Czechia and Poland as well as features of the characters of folk demonology that had a place in the folklore of miners. Folklore sources demonstrate prove that the culture of miners is rich with the images of demonological characters associated with miners, underground sources and underground treasures. These characters can be seen as little fellows, miners, beautiful girl or animals. These are contradictory characters who help only those people who really deserve it. The research has demonstrated that ethnic ideas about exploring regions and 'mountain spirits' are the key elements of the spiritual culture of Czech and Polish miners. These legends reflect regional specific features of their spiritual culture. 

Keywords: Silesia, folk demonology, legends, folklore, Poland, Czech Republic, mining history, mining, comparative analysis, traditions

Abstract: The article is devoted to some important aspects of the development of Chinese realistic school of arts in the second half of the 20th century (until 1990s). The author of the article analyzes such terms as 'modern art', 'sixtiers', 'country-side realism', 'scar painting' and their associated realities. The synthesis of the Eastern and Russian beginnings in fien arts and cultural dialogue with all further metamorphoses played an important role in the development of Chinese modern art. Realism was quite typical for Chinese fine art in the second half of the XXth century. According to the author, the nature and peculiarities of the realistic trend was defined by Russian and Soviet realism school. The infulence of great Russian artists such as Kramskoi, Repin, Surikov and others on the fine art of Chinese artists is obvious and so is the role of Pavel Chistyakov's approach to teaching painting. The latter served as the basis for teaching fine arts in China. Maximov's school was also a great contributino to the development of Chinese realism in painting. The principles of teaching fine arts at PRC's art schools. A lot of Chinese realists studied at Maximov's studio. The end of the 1970s and beginning of the 1980s also signified the end of the 'sixtiers' age who divided into 'Westerners' and 'Pochvennists'. In 1990 Westerners celebrated their victory in Russia while Pochvenists cried about their ideals being ruined, however, none of those movements played an important role any more. It appears that the Chinese movement of 'scar painting' with its sadness about vain sacrifice and lost illusions and desire to heal these wounds as well as the 'country-side realism' in many ways resembled the dieas of the sixtiers of the 1980s - 1990s even though they had their own historical and national peculiarities. On the one hand, these movements are associated with the early stage of 'healing' of Chinese culture (M. Neglinskaya's expression) and Chinese 'thaw' in general, on the other hand, there was criticial attitude not only to the preceding 'cultural revolution' but Chinese heritage in general. Finally, the aforesaid movements are often described as sentimental and returning people to eternal values. The pain from losses was conditioned by the events of the cultural revolution and events of the XXth century experienced by Chinese people in general while there were still peasants, love for the country-side, respect for a village worker typical for many Chinese 'traditional' artists. Thus, there are all reasons to speak about the important influence of the Russian-Soviet and European art school as well as the overall cultural stituation in the world on the development of Chinese culture in general and realism in painting of the second half of the XXth century in particular. 

Keywords: artists, China, school, realistic school, realism, fine art, realistic painting, master, pictures, creative

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

Abstract: The research subject is the features of the formation of a unique mental and socio-cultural concept of the Russian North. The research object is the Russian North concept as a specific code of the Russian cultural memory. The article is based on the use of a combination of methods: system, historical typological, cultural-historical, social-cultural, ethnic-cultural analysis, semiotics and art criticism. The empirical base of the research is 34 architectural-ethnographic expeditions during which 368 settlements of the Arkhangelsk, Vologda regions and Karelia were studied. The source of research includes archival materials and museum collections of Arkhangelsk, Petrozavodsk, Vologda, Nizhny Novgorod, Omsk, Moscow and St. Petersburg. In accordance with the objectives, "the Russian" (European) North" concept structure is considered as well as its territorial, ethno-cultural boundaries in the context of the historical formation and settlement of the lands north of the Russian ethnos. The research also covers the northern ecumene where a special type of mentality was developed based on Orthodox religion and the monastic area, "the Northern (Russian) Thebaid" was created. According to the author, the basis of the "Russian North" cultural code was the absence of serfdom and the Mongol-Tatar yoke, the spread of the Old Belief and long-term preservation of traditions of zemsky self-government. The study indicates the formation of a special ethnic group called “Pomors”. They have developed invaluable experience of survival and economic activities in the Arctic extreme conditions, free trade with the European countries and the presence of pidgin. This allows to make the following assumption: the Russian North people were more citizens of the world, than servile citizens of the Russian Empire. The result of the study and conclusion is that in the last two centuries the Russian North has become a stable word combination characterizing the component of the Russian mentality and the concept reflecting the ideas that are important for the Russian culture. The Russian North has played an outstanding role in the becoming of the national consciousness and takes one of the major places on the Russian cultural map. 

Keywords: pidgin, Russian North, Russia, cultural code, mentality, Orthodoxy, Pomors, people of the world, Old Belief, Russian (Northern) Thebaid

Abstract: According to the teaching about the Uniform Spiritual Tradition, the modern situation in the world is a catastrophic departure from the normal, i.e. tradition development of culture, society and humankind. This is the ‘decline’ towards destruction of all forms of cultural and social life and what is called ‘the end of the world’. Traditions are not the past of culture. Traditions retain and convey internal cultural forms. They also translate the spiritual influence and all symbols of religions and all metaphysical teachings are more or less readable prints thereto. Focusing on the problem of the relation between the macrocosmos and micocosmos, the author of the article draws the analogy between historical events, the course of history and man’s life. For that purpose the author uses the ‘health-sickness’ criterion for evaluating the overall historical process, in particular, concepts of the end of history from the traditional point of view. Disregarding the fact whether researchers of the Uniform Tradition follows the transcendental point of view or not, they all note that tradition and consecration have meta-historical and cross-cultural dimensions.

Keywords: Tradition, spiritual influence, consecration, principle, symbol, health, East and West, modern culture, metaphysics, history.

Abstract: The author of the present research article raises the issues that make us take another look at childhood and old age as the frames (development and completion) of human’s individual life. The author views phylogenic parallels to the child development and introduces the concept of human cultures, the latter being described in terms of peculiarities of life activities and views (consciousness) as well as the nature of socialization processes. Childhood is not only an independent culture of life but also the beginning of a difficult transition from one life to another (from the ‘pram’ to personality). Childhood provides the two methods of the world development – play and first social contacts with significant others. A child understands the adult world through play and thinks according to particular patterns. The meaning of a so-called childhood crisis so many people are talking about now is in the crisis of our adult life. Old age develops as a culture of life only if the society admits singularity of life of elderly people and creates special conditions for their life. The other condition is the efforts and work put forth by elderly people and old people towards developing their own concept of old age and putting that concept into life. The third condition for developing the concept of old age in culture (literature, music, science and etc.) is the creation of so called ‘semiotics of old age’. The author views different concepts of old age and analyzes a very important element of these concepts, institutionalization of the meaning of life in the culture of old age. The main research methods used by the author included comparative analysis, methodological problematization, cultural and historical reenactment and case analysis. General methodology included the philosophical interpretation based on humanitarian and cultural approaches. Based on the results of the analysis carried out, the author offered the definition of the term ‘culture of childhood and culture of old age’ and described the conditions of their formation, peculiarities and essence of each culture, issues related to these cultures and the main solutions of these issues. Generally speaking, the author offers a new philosophical concept of childhood and old age.

Keywords: Crisis, activity, society, prams, culture, childhood, old age, reality, personality, development.

Abstract: The author of the present research article disproves of Fedyor Dostoevsky’s appraisal of Pushkin’s series of poems ‘Imitations of Quran’ shared by Dostoevsky shared during his ‘speech devoted to Pushkin’ on June 8, 1880 when the writer interpreted the aforesaid series of poems as being written according to Russian populist religious traditions. Dostoevsky spoke of Pushkin as an ideologist of the empire, church, religious nation and Russian roots. From this point of view, his speech devoted to Pushkin was an ‘anti-Pushkin’ speech that actually disguised Pushkin’s system of values. The author of the present article proves that referring to Quran Pushkin pursued only creative goals. The only Pushkin’s goal was to create Russian poetry. Davydov uses the comparative analysis for studying Muhammad’s and Pushkin’s logics of reasoning and gives examples of Dostoevsky’s inadequate comments or appraisals. Muhammad used the concepts of ‘God’ and ‘people’ while Pushkin created poetic meanings in the sphere ‘between’ these two absolutes. For the first time in studies of Dostoevsky the researcher proves the failure of Dostoevsky’s point of view on Pushkin’s series of poems ‘Imitations of Quran’ based on the comparative analysis of personal values used by Pushkin and religious values of Quran. Therefore the conclusion about Dostoevsky’s misinterpretation of the meaning of ‘Imitations of Quran’ can be considered to have been proved. This allows to progress in our understanding of the speech devoted to Pushkin as an objectively anti-Pushkin speech.

Keywords: Pushkin, Dostoevsky, Quran, poem, Imitations of Quran, comments, poetry, art, Allah, God, the purpose of poetry, poetry.

Abstract: The subject under research is the methods of achieving the national and cultural identity formation of Russian people through localizing mechanisms of such identity formation. In this regard, the purpose of the research is to find the main mechanism of the local formation (localization) of the national and cultural identity. Noteworthy that the process of the identity formation may also include bilingual, enthocreative, behavioral, axiological and spiritual forms of identification. The latter becomes closely intertwined with ethno-confessional, family, domestic and household, ceremonial, artistic and socio-cultural traditions of the Russians which symbolizes the confluence of the global and regional elements. In his research the author of the article uses system, structural and conceptual cultural research analysis. Methodologically the research is based on the idea of the multi-culturalism and cultural dialogue introduced by M. Bakhtin. The scientific novelty is in discovery of the forms of national and cultural identity formation, in particular, bilingual, ethno-creative, behavioral, axiological, spiritual and local identity formation and description of their mechanisms. Combined altogether, they are a trigger for the linguistic, ethno-creative, behavioral, axiological and spiritual commonality integrated in an original local form of identity formation that is also conditioned by the spirits, mentality and attitudes of national groups.

Keywords: Mechanisms of identity formation, localization of identity formation processes, Russian national traditions, diasporas, national identity, civil identity, local identity, regional identity, ethnocultural environment, spiritual commonality of the Russians.

Abstract: The article is devoted to the history of Sufism and Hesychasm that are interpreted by the author of the article as esoteric teachings. First of all, the author offers his definition of what the term ‘esoteric teaching’ means to him. According to the author, an important prerequisite for esotericism being formed is a personality of a man who discovers the true reality in accordance with his own dreams and supreme values. The researcher explains the difference between religious and esoteric concepts and ways of salvation and describes a very important esoteric teaching which views God as the true reality. Another esoteric teaching is mysticism when a person seeking salvation tries to contact or to meet God. Development of these esoteric teachings has the three basic stages: the stage of creation when the main ideas are being formulated and realized by followers, the stage of popularization when some kind of a sacral technology is being created, and, finally, the stage of confluence with the initial ‘mother’ religion (Islam or Orthodoxy). Carrying out his historical research, the author of the article applies the methodology of the cultural and historical re-enactment which includes, among other research methods, the method of problematization and the method of comparative analysis. The results of the historical research allow to describe special features of the development of esoteric opinions, to understand the difference between esotericism and religion, to show the role of personality in the development of early esotericism and to describe the three basic stages in the development of esoteric opinions as well as to show that esoteric opinions are still related to their mother religions and therefore both esoteric and religious teachings change as a result of their development.

Keywords: Sufism, Hesychasm, esoteric, religion, God, reality, personality, esotery scientist, teaching, knowledge.

Abstract: The author of the article touches upon the issue about the relation between culture and civilization that are being viewed in terms of development of communication processes throughout history. The importance of this problem is especially recognized due to the appearance of TV broadcast at the second half of the XXth century and the Internet over the last decade. However, the only provision being actually recognized is that in actual practice communication has been existing since the times of appearance of the written language. The history of mass communication relates to the successive involvement of different technologies in the cultural process. Quite often these technologies take communication processes beyond the borders of culture. Technology represents civilization preferences. However, the other side of mass communication addresses culture which, in accordance with Johan Huizinga’s statement, ‘is born in personality and therefore retains its health in personality’. This discordance between preferences of civilization and culture plays the decisive role in raising the problem about personal potential of mass communication. Where mass communication expresses preferences of civilization, personality plays the role of an object in the communication process. Civilization tends to expand the communication space and therefore to involve as many people as possible into the communication process. Mass communication is meant to solve the problems that usually arise in the history of civilization when mass societies appear and processes of massification of culture are started. Personality becomes an actor of communication processes only when technology answers the preferences of culture but does not take communication beyond the borders of culture as it often happens and what mass media such as cinematograph, TV broadcast and the Internet often demonstrates. Sometimes it takes too long for the critical evaluation of the new communication media created on the basis of advanced technologies to be formed. So the humanity is often too excited about the opportunities that the new mean of communication may offer. Such statement of the question makes it necessary to undertake further historical researches of communication but not in the apologetic meaning as it often happens.

Keywords: globalization, individualization, massification, civilization, mass communication, mass media, book printing, culture, written language, cinematograph.

Abstract: The author of the present research article raises the issues that make us take another look at childhood and old age as the frames (development and completion) of human’s individual life. The author views phylogenic parallels to the child development and introduces the concept of human cultures, the latter being described in terms of peculiarities of life activities and views (consciousness) as well as the nature of socialization processes. Childhood is not only an independent culture of life but also the beginning of a difficult transition from one life to another (from the ‘pram’ to personality). Childhood provides the two methods of the world development – play and first social contacts with significant others. A child understands the adult world through play and thinks according to particular patterns. The meaning of a so-called childhood crisis so many people are talking about now is in the crisis of our adult life. Old age develops as a culture of life only if the society admits singularity of life of elderly people and creates special conditions for their life. The other condition is the efforts and work put forth by elderly people and old people towards developing their own concept of old age and putting that concept into life. The third condition for developing the concept of old age in culture (literature, music, science and etc.) is the creation of so called ‘semiotics of old age’. The author views different concepts of old age and analyzes a very important element of these concepts, institutionalization of the meaning of life in the culture of old age. The main research methods used by the author included comparative analysis, methodological problematisation, cultural and historical reenactment and case analysis. General methodology included the philosophical interpretation based on humanitarian and cultural approaches. Based on the results of the analysis carried out, the author offered the definition of the term ‘culture of childhood and culture of old age’ and described the conditions of their formation, peculiarities and essence of each culture, issues related to these cultures and the main solutions of these issues. Generally speaking, the author offers a new philosophical concept of childhood and old age.

Keywords: culture, childhood, old age, reality, personality, prams, society, activity, development.

Abstract: The author of the article touches upon the issue about the relation between culture and civilization that are being viewed in terms of development of communication processes throughout history. The importance of this problem is especially recognized due to the appearance of TV broadcast at the second half of the XXth century and the Internet over the last decade. However, the only provision being actually recognized is that in actual practice communication has been existing since the times of appearance of the written language. The history of mass communication relates to the successive involvement of different technologies in the cultural process. Quite often these technologies take communication processes beyond the borders of culture. Technology represents civilization preferences. However, the other side of mass communication addresses culture which, in accordance with Johan Huizinga’s statement, ‘is born in personality and therefore retains its health in personality’. This discordance between preferences of civilization and culture plays the decisive role in raising the problem about personal potential of mass communication. Where mass communication expresses preferences of civilization, personality plays the role of an object in the communication process. Civilization tends to expand the communication space and therefore to involve as many people as possible into the communication process. Mass communication is meant to solve the problems that usually arise in the history of civilization when mass societies appear and processes of massification of culture are started. Personality becomes an actor of communication processes only when technology answers the preferences of culture but does not take communication beyond the borders of culture as it often happens and what mass media such as cinematograph, TV broadcast and the Internet often demonstrates. Sometimes it takes too long for the critical evaluation of the new communication media created on the basis of advanced technologies to be formed. So the humanity is often too excited about the opportunities that the new mean of communication may offer. Such statement of the question makes it necessary to undertake further historical researches of communication but not in the apologetic meaning as it often happens.

Keywords: globalization, individualization, massification, civilization, mass communication, mass media, book printing, culture, written language, cinematograph.

Abstract: As a musical composition, march is a piece of music of a certain form and with a certain regular rhythm that is written for marching to and satisfying esthetic needs of a listener. In his search for answers to the question about the role and place of march in our life, the author faced the absence of methodological concepts on the matter and therefore chose to study the military march in all its kinds and forms. The subject of the research is the particular role of march as a piece of music in the life of an individual and ethnos, in the process of up-bringing, philosophical achievement of one’s personhood and development of culture. The research method is the search for and interpretation of information about the military music in general and military march in particular as well as comparison of discovered facts deriving from different epochs and cultures about military science, raising a warrior, formation and development of the army and attitude to music as an important element of culture. The novelty of the present research is in the attempt to provide a philosophical interpretation of the phenomenon of march, to compare this musical genre with other active branches of art and to analyze philosophical reflections on the role and influence of military march on the national culture. The author of the research article suggests that we should pay more attention to this unique phenomenon that has become not only the kind of musical composition but also the genre which, besides its ‘official’ purpose, has also created the grounds for further development of musical art and division of music into different musical genres.

Keywords: march, music, philosophy, war, religion, rites, musical instruments, state, army, peace.

Abstract: the article mentions facts from the history of the ancient art (stages of formation of cave art, peculiarities of the Ancient Egyptian canon in art and etc.) that require scientific research. The author of the article offers explanation of these facts from the point of view of cultural studies and semiotics. The author shows that formation of art (particularly, quasi art of the first cultures when the esthetical point of view hadn’t been formed yet) is a communication and sacral semiosis from one hand and a result of non-utilitarian policy in art that encouraged the outcome of an expert in quasi art and an artist himself.

Keywords: cultural studies, art, quasi art, formation, culture, sign, non-utilitarian, situation, fine arts, canon.

Abstract: The article is devoted to the contribution of a famous ethnologist, historian and geographer Lev Gumilev to Russian and world science and culture. As a part of Gumilev’s legacy, the author of the article underlines the elimination of the ‘Orientalistic discourse’ in Western humanities – the image of the East which was created in Western science during the early modern period but did not depicture the real East adequately. That image was created based on the emperial complex of the Romano-Germanic nations which, as Lev Gumilev said, was at the ‘acmatic’ stage of development. That image was Þ rst born in the minds of the ruling elite at Western states and later adopted by the humanities. Russian science happened to be under the inß uence of the ‘Orientalistic discourse’, too. This is why Lev Gumilev’s idea that there was no Mongol-Tatar Yoke in Russian history is usually taken with such resentment. The author of this particular article refers the Orientalistic discourse to Art Nouveau project that was created in Western philosophy during the Age of Enlightenment. It is also proved that there was an alternative project in history of humanities although it was related to the Romantic movement. Romanticists argued against separating West and East and viewed these two super cultures as one whole. Attemp to deÞ ne and prove that there was an alternative project in Russia, too, although Russian romanticists were better known as Slavophiles, allows to understand Lev Gumilev’s approach and appreciate his contribution to world science.

Keywords: cultural studies, Orientalistic approach, ethnos, civilizational identity, humanitarian sciences, natural sciences, passionarity, acmatic phase, Art Nouveau project, romanticism.

Abstract: The article is devoted to Sergey Vladimirovich Trubnikov’s creative work. Sergey Trubnikov was a graphic painter, designer, member of the Union of Designers of Russia and a Decembrist’s descendant. He lives and works in Moscow now. He started to exhibit his works quite early and has been working on so called national painting since 1991. He is a gifted master and his name is well known both by art experts and audience. Sergey Trubnikov devoted his big series of ‘Moscow national paintings’ to the 200th anniversary since the Great Patriotic War of 1812. His paintings sweep all before one, make a signiÞ cant contribution to Russian art and culture and is a visible proof of the fact that a profound Russian national lubok tradition still continues to develop. The article is based on Moscow exhibitions, interview with Sergey Trubnikov and personal impressions of the author of the article.

Keywords: cultural studies, lubok (Russian popular print), national pictures, caricature, prints, creative work, perception of the world, plot, composition, Great Patriotic War in 1812.

Abstract: The article is devoted to the phenomenon of Russian hip-hop culture. The author analyzes theoretical concepts of subcultures in foreign and Russian humanities and reviews postsubculture researches in terms of Post-Modern culture. Hip-hop is analyzed as a subcultural society and a form of culture which arose as the result of cross-cultural interaction and acquired specify c features associated with the Russian socio-cultural reality.

Keywords: cultural studies, subculture, hybridism, glocali zation, authenticity, youth, discourse, style, post-subculture, culture.

Abstract: This article is an attempt to understand that the term ‘collective unconsciousness’ means in terms of Russian culture. The author associates this term with Scythianism which grew popular at the turn of the 19th – 20th centuries (which is well illustrated by a famous poem written by Alexander Blok). Among Russian philosophers Europeanists were the fi rst ones to decode the meaning behind the ‘Scythianistic’ spirits which were so typical for that epoch. Analyzing the creative work by various artists at the turn of the 19th – 20th centuries the author describes how the Russian culture developed from Europeanism to Eurocentrism. The central theme of the article is a growing interest towards the East which results in a more intensive variant of on-going synthesis of cultures.

Keywords: cultural studies, collective consciousness, Europeanism, Eurocentrism, synthesis of cultures, Scythianism, Axial Age, prasymbol, Modern and Post- Modern, Romanticism and Symbolism, ‘ours’ and ‘the others’ in culture.

Abstract: The article analyzes the notion of a ‘cultural DNA’, describes the grounds for differentiating between specific nar rati ves and narrative templates and brings forward certain arguments proving the assumption that there is the ‘expulsion of alien enemies’ template lying in the basis of the Russian mnemonic community. According to the author, this template has got the two opposing properties, – generalizability (or schematization) and ethnocentric particularity, and such a template is rather a norm than an ex ception. National narratives are very resistant to change. It explains why it is so diffi cult to bring changes and to offer new strategies.

Keywords: cultural studies, history, cultural code, cultural DNA, national narrative, Russian mnemonic community, narrative template, the ‘expulsion of alien enemies’ template, specifi c narrative, ethnocentric particularity.

Abstract: Cervantes’ novel is alongside the Bible as one of the most frequently published books in the world. His interpretations are countless and make the text rather diffi cult for understanding. Let us try to read the novel putting aside his ideologies and axiologies. Let’s say we are not interested in Cervantes as a Catholic, Cervantes as a monarchist, a patriot or a representative of the Pochvennichestvo. It is Cervantes the ‘free lancer’ we are interested in. Perhaps such an approach will cast light on important aspects of the novel’s meaning which heretofore have been hidden from the researches of Spanish literature and culture.

Keywords: Spain, Catholicism, monarchism, catholicity, European values, creative freedom, anthropology of mistrust, novel, Cervantes.

Abstract: The article is devoted to avant-garde which is viewed as an integral system of culture with its own axiology and its own esthetical measure. It is well understood that the purpose of avant-garde is creation of a new cultural continuum but not just an artwork. Avant-garde is an important element of renovationism movement in a universal culture. It is the art of generating and changing forms where an artist is himself involved in transformation of the world, turning from a subject into an object of history.

Keywords: cultural studies, art, science and scientifi c character, culture, avant-garde, irrationalism, cultural continuum, the idea of total artwork, cosmicality of cogitation and language, avant-garde poetics.

Abstract: The article compares principles of organization and semantization of the Cyrillic alphabet and Japanese syllabary iroha as well as other forms of structuring Japanese syllabic letters (including modern gojuon). The author describes potentials and limitations of each form in being a modeling scheme of world perception.

Keywords: cultural studies, alphabet, Cyrillic alphabet, iroha, azbuki, pangrams, acrostic, telestich, writing tradition, cogitation.

Abstract: The article analyzes the relation and interactions between the three streams or ‘cultural layers’ in modern culture, - world high and popular culture, national cultures (‘All-Russian Culture’ in Russia) and particular ethnic cultures. The author of the article describes resources which allow various cultures to keep a decent place in a cultural range. Special attention is paid at the Russian culture which complexity is a good example of historical unity constantly being proved by every new generation (‘nonhomogenous whole’ as Mikhail Bakhtin used to call it), - unity in diversity.

Keywords: cultural studies, ethnology, world culture, national cultures, particular ethnic cultures, ‘national renaissances’, epoch of globalization, cultural norms, cultural differences, referential cultural norm

Abstract: By defining the continuum of one certain culture the author shows how traditions, values, customs and rituals, lifestyle and general rules of social life and behavior forming the variety of cultures within one culture, are transformed nit he course of a political and cultural process, how people understand or misunderstand each other. If we view all what happens from the point of view of culture, we can actually understand where we can engage culture in order to influence humanity, and where we can’t do it.

Keywords: cultural studies, art history, conservatism, inno vations, modernization, multiculturalism, interculturalism, transcul turalism, mutual understanding, culture