Vestnik KemGUKI

13-18

Authors: Serenkov Yuriy Sergeevich

The article presents reflections on an objective tendency towards making the language of culture-related scholarly writing more artistic. Outlining the history of culturology writing problem, the author retrospects for controversial points sustained by R. Harvey Brown and J. P. Ward in their works on sociology poetics. When stated observable in Russian-language works on culture, the poetic moment entails certain questions normally associated with poetics. In the first instance it is the question of critical semantic shifts introduced by poetic writing. From this point on the argument is built to highlight the perceptional change caused by writer’s switching from empiric declamation to poetic insight. In order to try to explain pragmatic attitudes of those introducing poetic element to scholarly writing about culture, the author comes up with the notion of transfiguration, or subject shifting by means of language. A combination of “trans” and “figuration”, transfiguration houses both an idea of closure, or bringing into form, and an idea of opening, or passage. Therefore the discussed change (or shift) caused by poetization appears ambivalent as it presupposes taking the final shape (completion of utterance) as well as opening the transition to new subject not yet mediated by the language. Finally brought up in the article, there is a question of reader’s specific response to the poetic shift in question. It is stated that the “objective” content of a written study (i. e., description) may vanish in transition from writer’s “thesaurus” to that of a reader. Thus, transfiguration is also a term to mark the shift from writing that describes, explains (or even expresses) to a writing that motivates for independent thinking. Keywords: research language in culture studies, poetic sociology, scientific discourse, artistic discourse, closure, transfiguration, cultural thesaurus.

24-32

Authors: Truevtseva Olga Nikolaevna

International cooperation is an important factor in the development of Museum theory and practice. The establishment of the Regional Committee for Museology (ICOFOM), bringing together the professional museologists of the Asian and Pacific Regions. By this Committee the interaction of scholars: historians, anthropologists, archaeologists, art historians, and professional museologistswas intensified. A novum is also theinteractionwith experts on museum-practice. The article talks about the established practice of carrying out international symposia, Museum schools, internships, exhibitions, as well as the development of scientific publications. The main attention is paid to the history and the development of the Committee for Museology (ICOFOM) and one of its structural sub-Committees: the Committee for Museology of Asian and Pacific (ASPAC) as an important branch of the International Council of Museums. The International Council of Museums (ICOM) was established 1946 in Paris as an “umbrella” for many committees. Structurally, the ICOM consists at the moment of 31 committees, 18 affiliated international associations, 115 national committees, more than 30 thousand individual and corporate members in 152 countries of the world. On contemporary circumstancesICOM developsthe inter-state and inter-cultural Museum-policy aimed at the preservation of world cultural heritage, and the promotion of the international museum community. The article pays particular attention to the history and development of one of the International Committees of ICOM – the Committee for Museology (ICOFOM) and to the Regional Committee in Asian and Pacific Countries – ASPAC. Museology professionals, united in 1977 in a non-governmental public organization, the Committee for Museology have put many efforts to improve the science of Museology and the methods of practical work of museums, training of museum staff, exchange of experience, and the promotion of academic knowledge. The Committee has gained its recognition through ICOFOM’s organizing extensive discussions of actual and scientific dialogues made theoretical questions of museology available to the general audience of professionals; they created the foundation for the training of museum personnel. The current system of organizing international symposia and scientific publications, lectures, seminars, master-classes of leading museologists from different countries, exhibition projects significantly raise the scientific level of museums and stimulate the creativity of their employees. International Museological Summer Schools play also a significant role in the trainijng of museum professionals. An important feature of ICOFOM activities is the constant expansion of activities due to its involvement in the peripheral, regional museum institutions through the organization of its regional offices. 2003 the Committee of Museology of Siberia (ICOFOMSib) was createdby Olga Truevtseva/Altai State Pedagogical University, and in 2009 – the Committee of Museology of the People’s Republic of China. Since 2003, ICOFOMSib brings together academics and practice workers in the museums of Siberia, initiating a variety of projects aimed to the study of the history and theory of museums in Siberia, particularly the preservation of cultural heritage. Annual symposia were held in the cities of Siberia and Asia. In 2011, the ICOFOM Board has proposed to enlarge the territorial boundaries of ICOFOM Sib activities by including the countries of Asian and Pacific countries. The ICOFOMSib got its new name – the Committee of museology in Asia and the Pacific (ASPAC). Thanks the great effort of Prof. Dr. Kuo-ning Chen (University Tainan, and now Director of the Museum for the World Religions in Taipei and Vice-president of this Committee) the Committee grow up immensely. Several Meetings on Museology took place in the “Museum- Landscape” Taiwan. During the twelve years of the ASPAC activity there were organized and held 9 international symposia, 16 international museological schools, attended by school and museum staff, teachers and students of higher educational institutions. Many exhibition projects have been implemented in Kazakhstan, China, Taiwan, and Mongolia. Scientists from Asia and Europe have generated more than fifteen scientific publications. The Committee’s experience shows that the development of national museums is greatly enriched due to the exchange of information, the study of international experience of museums. Intercultural dialogue contributes to the search for new forms and technologies of preservation of cultural heritage. Keywords: Museum, museology, international activities of museums, history, International Council of museums (ICOM), Committee for museology (ICOFOM), the International Museology Committee of Asia and Pacific, Museum school.

40-46

Authors: Tugay Anastasiya Vladimirovna

Dance culture of the Buryats has a rich history of its development. It was formed under the influence of a unique combination of natural, religious, and artistic factors that gave it an unusual originality, compared with a number of other cultures. The culture of yohor arose during the period of the tribal system in connection with the celebrations on the occasion of a successful hunt. This ancient ritual dance has a special meaning associated with the solar cult, the cult of the Sun, as the movement of dancing in a circle from left to right coincides with the direction of the Sun movement. This paper is based on the analysis of works of researchers, M. N. Hangalov, D. S. Dugarov, I. E. Tugutov, I. A. Manzhigeev, D. A. Nikolaeva and L. D. Dashieva devoted to the study of this Buryat circular dance. Versions of the yohor origin are considered and its description is given interpreting it as an important component of traditional dance culture of the Buryats. In the process of society evolution the yohor dance transformed, losing direct contact with the rites, and was gradually filled with new content. Rooted in the mists of time and enduring significant changes in its development, yohor still is a valuable source for the study of traditional dance culture of the Buryats. Keywords: dance culture, circle dance, Buryats, traditional culture, yohor.

57-63

Authors: Bazhanova Rimma Kashifovna

Article is devoted to transformation, the basic ontologic characteristic of virtuosity. The author analyzes features of transformation in political and art and esthetic spheres. Changes of identity of the person are explained by conditions of social existence and desire of the personality to find a multiple arrangement in life. The known fragment from E. Canetti’s work “The weight and the power” contains the developed concept of social transformation. The Austrian philosopher argues on proximity of transformation, imitation (imitation) and pretense. There are distinctions between them. Imitation helps to find an external form. The artistic intension when using copies carries out a difficult operation of connection remote in essence, but relates on external similarity of objects. It allows to begin coordination of internal and external layers of the created image and actually to start the process of creation of metaphors, representing the semantic movement. The similar movement in mechanical copying isn’t present. A transitional form from imitation to transformation, according to E. Canetti, is pretense, “a friendly image” in which “a hostile image” is hidden. Pretense is impossible without use of a mask, especially in the political sphere. Transformation takes shape in art transformation. It means the spiritualized and skillfully issued penetration into essence of other phenomenon without loss of egoism of the creative person. At the same time, other character is comprehended as part of other life. For artistic action similar transformation will always contain a context of cheerfulness, imitation of life. Therefore refinement or a condensation as reception, expressiveness of details work for the statement of Life here. From here any skilfulness, artificiality, creativity as individual self-excess for the sake of rooting of life, its movement, change will also make a being of artistic transformation. Cultural dynamics of typicalness is especially accurately shown in the sphere of social life. Transformation as nonlinear action contains imitation, pretense, masking the transformation in any existential order. In society the system of a ban on transformation which epifenomenam act persons of the imperious person, trickster, shaman is always installed. The artistic relation to a metamorphosis arises at quantitative and qualitative variability in a specific context of art of transformation as which basic awe of life acts. Keywords: transformation, virtuosity, culture, society, E. Canetti, ban on transformations, king, trickster, ignoring the restrictions, art of roundabout maneuver.

70-78

Authors: Likhanina Evgenia Nikolaevna

For many centuries the prosperity of the territories defined by the presence of natural resources, developed industry and convenient geographical location. The last decades of international experience shows that there are other possibilities for the well-being of the industrial city. In the first place began to leave information and knowledge, innovative ideas and daring ideas, talented person. Culture began to be understood not as a heritage, a source of education and the transmission of values, as well as the creative source of ideas and inspiration. At the same time there is a change of ideas about what is business and entrepreneurship. Their focus becomes not a commodity, and the service is not only as a single act, and services that accompany the service in its entirety. Business and Culture steel integrative concepts not exist in isolation, but as the reciprocal category. Evidence of this is the active development of the once abandoned factories, industrial sites, production workshops, there where come creative professionals working in the field of programming and mathematics, architecture and engineering, natural and social sciences, education, training and library science, art, design and media. They have created a creative clusters that are successfully developing in the world in the last decade in Russia. New times require new campaign to develop an industrial city. Money should be invested not only in industry and urban infrastructure, optimize the creative qualities in people, in an atmosphere of creativity and cognition in the development of the so-called creative industries. It is necessary to create conditions for attracting the “creative capital”, and they in turn will create a creative cluster, the whole industry. It will surely attract tourists, investors, big business, and hence help the city to become the economic and cultural center, will allow it to become a truly modern and appealing to workers, comfortable to live and work. The key decision in the matter of development can become a social and cultural projects in the field of creative industries, the potential of which is large and requires a thorough and prompt investigation of the active implementation of the urban environment. Keywords: Creativity, inventiveness, culture, business, city, cluster.

91-95

Authors: Khodanen Ludmila Alekseevna

The known soviet psychologists D. Elkonen and L. Vygodskyi consider the gaming nature of the children’s “psychomotorica.” In the theatrical performance under discussion the hero of which is a child, the producer realizes the peculiarities of the children’s perception and fill it with artistic content. In the performance “Catch with Death,” staged in the “White Island” Theatre (Kemerovo, S. Basalaev as a producer, M. Proshkina as an artist and I. Puzyreva as a choreograph) the tragic situation with a deadly illness of a child is in the basis of the staged story. In the performance the inner world of the main hero is in the focus of attention. The hero is under spiritual revival and acquires belief in Christ. The children’s game is the main form of the stage performance and defines the character of the communication with the audience. Meetings with the child’s parents, meetings and talks with the Pink Dame, the main hero’s love to a girl-patient, Patty Blue, his contacts with other children-patients, doctors and nurses of the hospital are given as facts, which Oskar reports to the God and stage in his own puppet-theatre. Thus, everything which is going on, is given through the eyes and consciousness of the main hero. The gaming situation comes from the dialogue of Oskar and the Pink Dame, who as a clownees, tries to incourage and challenge the teenager who is deeply depressed. The Pink Dame tells him stories of her imaginary activities as a daring catchist. Quite understandable and close to him world of brave and daring actions incourages Oskar, inspires energy for activities into him. He creates his own small puppet-theatre, where he stages the events happened to him. Three puppets turned into personages and some objects found in the ward, everything around him are made participants of the show by him. In the performance under discussion the producer employs an element, known as an “open device”- puppet work without screen. The actress E. Purgina works with finger-puppets, “talking” puppets, with objects turned into puppets. Oskar, performed by the Pink Dame, always remains the main hero of the acting and determines his spiritual revival. Simultaneously, the personified puppets and other objects get into conflict and mise en scene, created by the boy, form some plastic visible world which reflects his perception and understanding of everything happened to him. The puppet-theatre poetics in the performance “Catch with Death” appeared to be a colourful, expressive means to reveal the inner world of the teenager-hero, the creative potentiality of the personality, the richness of psychological reactions, gestures, motions, deeds of the Unknown on the way to the hero’s maturity. The puppet manipulation did not turn into simple illustrations of Oskar’s thoughts, but they became a means of expression of “transcendental” action, realized in the conflicts and dialogues of the personages, which in itself forms the integral world of the performance. Keywords: E.-E. Schmitt, performance, hero, puppets.

104-111

Authors: Grigoriantz Tatyana Alexsandrovna

The theater art, being developed and transformed, reflects changes proceeding in society. Stage reality reproduces and tries to analyze the internal peace of the man: the changing relation to himself and surrounding, the search for new values, internal support. Dramaturgy of the plays inverted to the depths of human consciousness frequently. It analyses the things that relates to the concept “inexpressible”. New sides of man life lead to the search for the new expressive means, capable to embody the urgency of the present. The theater art is a synthesis, combination of the different kinds of art: painting, architecture, vocal, speech, dancing, acting and many others. They unite in one stage act and have many-sided aesthetic impact. Dance is one of the components of stage action. The analysis of choreographic material in the plays of the A. V. Lunacharsky Kemerovo region drama theater in the beginning of the XXI century is the obvious example of the plasticity transformation in the theatrical culture. The number of plays with the dancers and plastic fragments, the number of dances in the plays increased during the end of the XX and the beginning of the XXI. Choreographic component of stage action strengthens emotional stress. Requirements for the actor technology change. The rhythmic and choreographic trainings are begun. Actors assimilate the elements of contemporary choreography, historic dance, stage acrobatics, and pantomime. This period is connected with searches in the sphere of choreographic organizing. The reconsideration of the introduction methods of the dance and plastic scenes into the play occurs. Keywords: A. V. Lunacharsky Kemerovo region drama theatre, plasticity, choreography fragments, transformation, analysis principles, producer decision, stage text of the play.

118-128

Authors: Prokopiev Maksim Viktorovitch, Drobyshevskaya Maria Evgenievna

This article discusses three regional variants of avant-garde art of the early twentieth century: the avantgarde in Germany and Russia, notably the Central Russia and largest of the region – Siberia. Currently the problem of the development of the avant-garde in the periphery is not an object of special attention, but this issue deserves profound consideration, because the avant-garde, including the Siberian, is a special alloy of trends and ideas, the path of circulation between the cultural centers and the periphery is far from obvious. We investigate a number of the most striking features that were characteristic not only of the vanguard centers (Russia and Germany), but also the vanguard of the periphery (Siberia), using empirical and theoretical methods. The aim of this work is a comparative study of the avant-garde periphery – on the example of artistic creativity of Oscar Yankus, Russian avant-garde, represented by Wassily Kandinsky, as well as avant-garde of Europe, in particular, creation of German artist Paul Klee. The material was previously unpublished Manifesto Oscar Yankus, as well as theoretical and journalistic work of Kandinsky and Paul Klee. Comparative analysis of artistic practices was conducted on the material of some works of these artists, written at the same time – in the 1920s. The analysis found a number of traits that are typical of both the avant-garde of the West and Central Russia and the avant-garde of the Siberia. These common features are identified in the implementation of artistic practice in such categories as “the dynamism and movement”, “the attitude of the artist – audience”, and also “in regard to form and material”. The paper also introduces into scientific use the previously unreleased handwritten Manifesto, written by Oscar Yankus in 1921. Keywords: Siberian avant-garde, synthetic dynamism, regional studies.

135-143

Authors: Zyryanov Michael Lvovich

The article of Mikhail Zyryanov is on the theme of the musical component of the Church’s reading. The choice of the topic itself is well founded for music of the turn of XX–XXI centuries. It is quite relevant, since the rapid development of the Orthodox tradition in recent decades in Russian culture. In addition, many wellknown musical figures are among the clergy, but the creative side of their lives is unfamiliar the wide public. The article Mikhail Zyryanov disclosed subject music component of a Church reading. The choice of the topic itself is well founded, it is quite relevant to the culture of recent years, characterized by the recovery of spirituality. The aim of this work is the consideration of the peculiarities of the Church read in the overall context of musical art, the identification of the main musical activity factors reciter. The formulated goal necessitated the solution of the following research tasks: 1. To analyze the available literature on Church reading; 2. To highlight the main stages of the history of the study of Church reading; 3. Identify the main functions of Church readers and among these musical functions; 4. To bring the most convenient and complete terminology of Church reading; 5. To determine the possibility of interaction of the spiritual theological and aesthetic component in the Church’s reading. The General structure of the article reflects the logic implementation of the stated goals and objectives. It begins with descriptions of the traditions of the Church reading and a brief overview of the early research and recordings of this phenomenon. Next, an attempt is made to propose criteria for the classification of elements of the Church’s reading, and concludes with a description of poglasitsa as the most important component of Church reading. At the end of the article, conclusions are drawn about the need to change attitudes to a culture of worship, to make more accessible its meaning with the help of musical intonation. Keywords: Church reading, line, working accent, pagesize.

148-156

Authors: Starikova Alina Vyacheslavovna

This article presents the practical application and development of F. Busoni’s notions of pianistic concept in the performance of outstanding Austrian pianist G. Galston, whose work is currently a poorly-studied page of the history of piano performance. Galston is the author of Studienbuch written in the genre of performance comments upon the works under study and generalizing his personal work experience over the cycle of five monographic concert programs dedicated to the works of I.S. Bach, L. Beethoven, F. Chopin, F. Liszt and I. Brahms. The conception of the pianist’s techniques development which received its final execution in Busoni’s exercise book “Klavierübung” (Keyboard Practice) is based on two key methods: 1) technical variants inferring creation of technical exercises on the material of difficult parts of works of art and 2) technical phrasing based on the imaginable division of one or another difficult passage into complexes which could be easily automated. Galston tests and proves the effectiveness of such methods by creatively developing the Busoni’s ideas in the process of work over Chopin’s and Brahms’s works. Galston’s Studienbuch has become the example of individual realization of Busoni’s pianistic conception and generates considerable interest for professional pianists and teachers of piano play. Keywords: pianistic performance and pedagogy, piano exercises, method of technical variants, method of technical phrasing.

165-171

Authors: Umnova Irina Gennadievna

Marked by the rapid dynamics of modern life is sometimes difficult from the relations with classical music. But still the listeners expect from the art of sounds that are not found in the world – harmony, perfection, therefore, in a period of social, cultural and spiritual crises we are hoping for help from the most abstract of all art forms. Sometimes experimenting with professional musicians are the reason that interest in academic art is waning, and the imperfection of aesthetic taste turns music lovers in unwitting consumers. Orientation of society on consumption is accompanied by a leveling of the perception, self-identity, spiritual identity. In such socio cultural situation becomes apparent role of artistic education, forming valuable-STN consciousness and aimed at serving people and art. The problem disrupted communications between music and society is able to solve diverse in its activities composers and performers. In Russia for several centuries, advanced an entire galaxy of brilliantly talented musicians-professionals simultaneously representing composers, performers, educators, and public figures. More than half a century belongs to our contemporary – Sergey Mikhaylovich Slonimsky, true Master, organically connected to his work as composer, musical-critical, pedagogical, socio-educational and performing skills. The self-consciousness of itself as designed to serve the interests of musical art and his contemporaries shaped and educational aspirations, which are recorded in the verbal texts of articles, essays, interviews, speeches. For the first time characterized by musical and cultural tradition recorded Slonimsky in the genres of literary work.cal music. Keywords: music education, general and vocational education, ethical and aesthetic education.

179-185

Authors: Konoplyansky Dmitry Alekseevich

The article is devoted to the formation of a competitive labor market of the graduates under the influence on the process of external and internal factors. This article presents a public-private partnership in the field of higher education. The article characterized by the requirements of employers to graduates. Identified and disclosed forms and vectors of development of public-private partnerships, as well as the areas of cooperation between employers and universities. The role of student-centered teaching and practical training, during which students develop the necessary professional competence and personal qualities of the future specialist. The article identified and disclosed the main stakeholders of public-private partnerships in higher professional education. It highlights the fact that the public-private partnership is the cooperation between the state, businesses and higher education institutions on the basis of common interests to meet the needs for qualified personnel and to achieve common goals in the implementation of educational projects, as well as identifying the most suitable parameters for the application of technology social partnership implementing educational strategies for building competitive graduate high school. Keywords: graduate, public private partnership, competitiveness, stakeholder, profession-education space, labour-market, factor.

194-202

Authors: Smirnov Iaroslav Yurievich

Today in modern pedagogy, pedagogical, cultural studies has accumulated extensive experience in the theory and practice of education, upbringing of the younger generation, and developed a new system of musical-aesthetic education. This system makes the task of identity formation, is able to actively, creatively transform and affect reality. Musical-aesthetic education is considered in the teaching of cultural studies as an integral part of moral education of the younger generation, which is the result of formation of the General culture of the individual. In our country the musical-aesthetic education is not seen as an area accessible only to selected gifted children, but as an integral part of the overall development of the younger generation. Key points in this system is the fact that exposure to art began as soon as possible, in early childhood. The purpose of this article is the definition of aesthetic, moral, and musical education goals, demonstrate the role and value of music education in the lives of the younger generation and society in General. To achieve this goal, the author of the article analyzes different approaches to the system of musical-aesthetic education, considers concepts such as musical culture, the influence of music on man and its features, the analysis of the work of Omsk, Khabarovsk, Orel, Pskov Philharmonic. Keywords: teaching cultural studies, music pedagogy, the versatile development of personality, the organization of the process of musical education of the individual musical culture.

210-226

Authors: Gendina Natalia Ivanovna, Kolkova Nadezhda Ivanovna

The article brings up the results of the comparative analysis of domestic and foreign sites of Indigenous Peoples. The study was conducted at the Scientific Research Institute of Information Technologies in Social Sphere, Kemerovo State University of Culture and Arts. The researchers analyzed 60 sites and portals of Indigenous Peoples, including 30 domestic and 30 sites out of the country. As part of the 30 foreign sites they studied sites of the United States, Canada, and Australia. 30 domestic sites of the Internet resources owned by interregional and regional associations and organizations of Indigenous Peoples living in Russia were also included. The study compared the subjected thematic headings structuring the sites’ content. The comparative analysis of the content of domestic and foreign sites of Indigenous Peoples has revealed significant differences in the approaches to their construction. They revealed features of structure and contents of domestic and foreign sites of Indigenous Peoples as a means of intercultural communication. It was found that the domestic sites mainly contain materials that provide historical and demographic and socio-cultural characteristics of the ethnic group, reflecting the structure and activities of the associations of Indigenous Peoples; as well as highlighting the various events in culture. In contrast to the Russian sites of Indigenous Peoples, the similar Internet resources of the United States, Canada, and Australia are more application oriented, focus on solving the specific, vital issues for the representatives of Indigenous Peoples: employment, education, social protection, legal protection, etc. It is shown that the main difference between the content of domestic and foreign sites of Indigenous Peoples can be reviewed by two generalizing concepts: “About us,” disregarding the urgent problems of life and activity of the indigenous peoples of Russia, and “For us,” giving the situational characteristics of the ethnos. It was revealed that the general lack of inherent domestic and foreign sites is the absence of a harmonious combination of concepts “About us” and “For us,” giving a complete characterization of the people, both historically and in the state of art. In order to eliminate fragmentation and incompleteness of content of Indigenous Peoples’ sites as a means of intercultural communication, it is proposed to use the problematic heading “Indigenous peoples” as a special linguistic means of representing a two-level hierarchical classification, designed for creating and improving (upgrading) the Indigenous Peoples’ sites content. The structure and the possibility of practical application are characterized for the use of the problematic heading “Indigenous peoples” to ensure a systematic and holistic view of the Indigenous People site’s content. Keywords: indigenous peoples, ethnographic information, intercultural communication, online resources, the site content, linguistic tools, problem сategories’ classification “Indigenous peoples.”

235-243

Authors: Stegaeva Maria Vital’evna

The article summarizes foreign and domestic experiences in standardization the methods of approaches to description of the “corporate body” access point in the bibliographic entries. For the first time the corporate headings were recognized as an important access points to bibliographic information at the International Conference on Cataloguing Principles (Paris, 1961). On the report of Eva Verona (Croatia) entitled the “Corporate Headings: their Use in Library Catalogues and National Bibliographies” (1975) noted that in practice the international standardization in the field of formation and use of corporate headings yielded to adopted in national practices traditions of cataloging, so lack of consistency was a serious obstacle to effective bibliographic control. The idea of an international standard for the header that contains the name of the company (as part of the Universal Bibliographic Control (UBC) IFLA) dominated throughout the second half of 1970 – the beginning of 1980. Working Group on Corporate Headings along with IFLA Section on Cataloguing and the IFLA Section on Official Publications worked out and published the “Form and Structure of Corporate Headings” (FSCH) in 1980. By 1995, the IFLA Section on Cataloguing realized that bibliographic practice in contrast to FSCH doesn’t show consistency in the presentation of corporate headings at all, so a new Working Group on FSCH organized to revise the standard. The Working Groups came out with an understanding of illusion of the worldwide acceptable unified corporate heading, which was announced at the IFLA General Conference in Amsterdam, 1998. Since then, the focal point moves from the content of titles to the basic principles and overall structure of building of the corporate headings. The Working Group on FSCH recommended to the national bibliographic agencies to keep the differences in accepted forms of headings if that meets the language and cultural demands of their respective countries; it also suggested that national authority files would be accessible online. This made possible at the beginning of the XXI century with the realization of the Virtual International Authority File (VIAF) project, which main purpose is to offer the library community and mass media an easy access to the major world name authority files. The use of corporate headings in the bibliographic entry has deep historical roots. Favorable, that how the header should look like were decided, as a rule, at the state national level. Important differences of the Russian national cataloging rules are succession and answering the international tendencies. Since 1923 under the requirements for corporate headings were issued in published by the Russian Central Book Chamber “Book Annals”. It was the first use of corporate headings in Russia on a large scale. First theoretical basis of the rules of formation and use of corporate headings in native literature was given in a work of E.I. Shamurin entitled “Сatalografiya” (1925). Remaining controversies, including an application of the description of corporate headings, inconsistency in the rules of description, brought up the need of development of state identity for description of printed editions in library catalogs. As a result, the “Common Rules of Print Media Description in Library Catalogs” came out in 1949. In 1970–1980s IFLA developed a series of documents – International Standard Bibliographic Description (ISBD), regulating the text and structure of bibliographic description that became the basis for creation and revision of national rules in many countries including Russia. The principal propositions of ISBD became a foundation of the new “Rules of the Bibliographic Description”, published in the USSR in 1986. In the “Rules…” heading was placed outside of the bibliographic description and considered as an element of the bibliographic record that assure greater compatibility of the structure and terminology of the bibliographic description with international recommendations. In 1998 the IFLA released the “Functional Requirements for Bibliographic Records”, considered as a new conceptual model of cataloging in the electronic medium, that greatly influenced the creation of a new set of Russian cataloging rules, including the rules of forming of corporate headings. The main international trends observed in the making and use of authority information – the widespread use of authority files, usability compliance in the first place, assuring convenience for the exchange of authority records, were taken into account. There is an ongoing cooperation of many countries with the purpose of matching the rules and the techniques concerning structure and form of headings, which helps to reduce a waist on building authority information and increase the number of adopted records. This process is facilitated with developed in 2009 “Functional Requirements for Authority Data” (FRAD) conceptual model of IFLA at a theoretical level exploring how authority data works in the bibliographic universe. Keywords: controlled access point, corporate heading, corporate body, bibliographic entity, cataloguing, authority file, authority data.