Vestnik KemGUKI

13-18

Authors: Zhukova Olga Ivanovna, Zhukov Vladimir Dmitrievich

In the article, the role of religion in present-day person formation is examined. The reasons explaining the person’s interest to religion are analyzed. It is emphasized, first of all, that it is impossible to understand the specifics of religion, its social functions and the mechanism for their implementation, without examining the supreme foundations of religious worship and faith. Secondly, religious representations contain centuries-old moral experience, which is of special value for man existential being. Particular attention is paid to the relationship of religion and morality, religion and mass culture. It is investigated, which mass culture features religion comprises, and how vividly they are expressed. Such an analysis proceeds from the consideration of religion and mass culture as a sociocultural phenomenon. There are some features, that bring religion and mass culture together. Religion from its forthcoming contains aspiration for penetrating into the broadest strata of population, and in pursuitof its goals it strives for maximum expansion. Religion, like mass culture, uses specific forms of consciousness and activity having also creative and destructive elements. It is emphasized, that for a modern intellectual person such problems mean that an authentic knowledge is being searched for and that a constant dialogue between religious and secular consciousness is necessary.

25-33

Authors: Podgornaya Inna Aleksandrovna

The relevance of the study of religious ecphrasis in verbal and pictorial texts associated with the comprehension of spiritual values in the society, the problem of their perception of the new generation, with an attempt to substitute the concept of spirituality to the notion of morality and ethical morality, as well as the emergence of new methodologies in the study. The object of study is the methodology of cultural studies of religious ecphrasis in verbal and scenic texts. The subject of study is the verbal and pictorial texts that carry description of ecphrasis in the context of religious reading. The aim of this study is not only to review the methodology of cultural studies in the analysis of religious ecphrasis in verbal texts and scenic, but also to find the necessary methodology for this study. The study of religious ecphrasis in verbal and scenic texts in this work is carried out with the culturological position: structural and functional, systemic, phenomenological, hermeneutical, theo-axiological, and in terdisciplinary approaches. The methodology of cultural studies of religious ecphrasis in verbal and pictorial texts allow a deeper insight into the semiotics of texts, as well as see the impact of the Christian doctrine on creation of images in works of art. Cultural approach to the consideration of religious ecphrasis allows you to convey to the reader-viewer’s sense of the meaning of the patristic heritage through works of art with the aim of prompting the spiritual perception of the world and the subsequent transformation of the individual. Such an attitude is a key element of human cultural world view, through which we hear the spiritual and moral values of the modern generation.

42-49

Authors: Kazakov Evgeniy Fedorovich

The article, based on research of images of European art of the XXth century, analyzes the manifestations of the spiritual life of man. Growing trend of its pesonalizing that manifests in increasing feelings of instability, variability, uncertainty, insecurity. Organic suffering and transformation perceived by the person as an end in itself, self-sufficient, comprehensive of his whole being. The loss of connection with the eternal and total immersion in the interim, the end found expression in art in the broad deployment of the theme of imminent death by common mood of anxiety, of human insecurity, unreliability, fragility of existence. One of the main evidences of the art of the XX century is the deformation of the image of man. In the preceding century, he had maintained even an external similarity with the pristine appearance, the art of the XX century showed that the loss of internal similarity naturally leads, ultimately, to the loss of external similarity. The transformation of the person in the mask, the image in the “ugly mug”, anti-image. The art of the XX century finds its development and the theme of reassurance, cheerfulness, the feeling of Paradise. If from the XVII to XIX century the image of Madonna and child in European art did not produce, the XX century returns to its understanding. The highest point of the collision of Light and Darkness appears in Calvary, the Crucifixion of Christ. The theme of the Crucifixion gets in the art of XX century a new development. Contemporary art showcases the entire spectrum of possible relationships of man to himself and to the world: admiration of beauty, love and tenderness; ridiculing the weaknesses, shortcomings, vices; feeling sorry for the man, experience his death as a great tragedy; selfexaltation of man, the creation of an idol for themselves; knowledge of themselves and pessimism; faith and hope for salvation. The mental life of the XX century is the unity of “dying”, “despiritualized soul”, and becoming its authentic being.

53-60

Authors: Begunova Ekaterina Aleksandrovna

Memory has always been of great importance in life, as for an individual, and society as a whole. Discovering the connection and continuity of the past, present and future, it is an important means of forming and maintaining the individual and personal identity of man and society. The memory of man and people acts as the guardian of the material and spiritual values of culture. The processes taking place in the sociohumanitarian sciences of the last decades of the 20th century led to the formation of a new paradigm of research related to the theme of cultural memory. In the article, some approaches to studying the phenomenon of cultural memory in foreign humanitarian sciences are considered. The key aspects of the content of the concept of “cultural memory” are revealed. An attempt has been made to compare the various methods of studying “cultural memory” with the aim of concretizing the research “toolkit”. The relevance of the study of cultural memory is due to the fact that, beginning with the works of E. Durkheim and M. Halbwachs, in the world science is formed and by the 1980s. In the West, a specific direction, designated by the term “memory studies”, is gaining momentum. This direction unites representatives of a number of social and humanitarian specialties: culturology, anthropology, philosophy, history, sociology, etc. The interdisciplinary direction of the analysis of phenomena and processes that developed around the study of cultural memory over the next decades has reached a certain theoretical and methodological level. The key objects of research were various types of collective memories. Unfolded at the end of the 20th century. Global processes have made the problem of preserving and interpreting the cultural memory of the leading for the whole complex of social and human sciences.

66-72

Authors: Belobrov Andrey Aleksandrovich

The main attention in this article is placed on baroque culture; characterization of sociocultural situation contributing to the activation of such interest, and analysis of particular manifestations of baroque in contemporary Russian art. Author singles out and explains sociocultural conditions that enhance development of baroque art and makes sense of a public cultural interest to it. The article suggests historical dynamics in changing interest to baroque art. The article provides the historical dynamics of interest in the Baroque, determines the reasons problematizes understanding the Baroque, and searches for sociocultural conditions underlying it. The prevailing forms of cultural interest in the Baroque is represented by the material culture through architecture, sculpture, landscape design, clothes (fashion). The phenomenon and the manifestation of the aesthetic forms of the Baroque in culture of modern Russia is due to complex historical and social processes in society, nevertheless, in which most contradictory and difficult historical times the art tends to be in complex shapes. The importance of the Baroque style in the culture of Russia is studied on the example of different eras. The problem of Baroque in Russian culture considered in the context of the phenomenon, which is characterized by the interrelation with different types and directions of contemporary culture. The author makes it his main task to problematize Baroque within other styles of art that are attracting attention of contemporary Russians. He looks at sociocultural conditions that activate baroque art as well as interests to the style of Baroque. The idea that interest to Baroque is hidden behind social inequality and growing attention to non-realistic forms of art is one of the ideas upon which the author insists in his analysis. The article offers multiple forms of baroque art born in contemporary Russian architecture, interior, music and cinema as result of contemporary sociocultural dynamics.

79-86

Authors: Chaplya Tatyana Vitalyevna

Architecture is one of the most ancient arts that accompany man through history. Therefore, research of the relationship between architecture and human society, analysis of their mutual influence is the subjects of humanitarian sciences studies. The aim of the article is to analyze the architectural space in the categories “friend” – “foe” from the standpoint of the theory of communication. The article shows that the theory of communication and semiotic methods allow us to consider the architectural space not just as a “text” which gives its “reader” the opportunity to form a relationship with it, but also as a system in which a subject can or sometimes forced to act in a certain way, depending on the degree of the proposed “text” exploration. The article reveals that the system of relations within the architectural space can be build according to two schemes: “I am a friend” and “I am a foe.” The author proved that these schemes may be regarded as mechanisms for implementing “friend” or “foe” concepts, as in explored and non-explored space. As a result, it was concluded that the concept of “friendly” or “I am a friend” space occurs when a person able to implement his needs, social roles and desirable ways of interaction in it without compromising his identity. In the other case, we should talk about “alien” or “I am a foe” space, which cannot be comprehended and causes subject to feel detached or estranged. Thus, means and methods of architectural space structure demonstrate its connection to the history of human society development and to the system of inner relations organization in it.

94-99

Authors: Bezrukova Ekaterina Aleksandrovna

In the modern practice of the fashion industry, commercial art and design, a special popularity is acquired by the synthesis of unique authentic graphics and the possibilities of computer technology. One of the most popular areas of modern design was the fashion illustration. It evokes great interest from the position of development of the world art culture and the modern style of the era. This article is aimed at theoretical understanding the fashion illustration as a certain type of unique graphics and its use in artistic and creative activity in the fashion world from the origins of the sketch of a man in a suit to the creation of highly artistic graphic works completed in unique authentic techniques. The article analyzes the concept of modern fashion illustration in three important key aspects: typological characteristics of such graphic image, what visual communication tools are used to create it, what role it plays in designing the fashion image, and what functions it performs in the modern fashion industry and design. Thus, the concept of fashion illustrations in modern culture is expanding, its typological characteristics and functions are examined on the basis of analysis of the features of the artistic and sociocultural interpretation of the costume images at different historical stages in the period from the XXVI to XXI centuries. The article explores the variants of the graphic image of the costume illustration and the conditions for their most expressive presentation to the viewer in fashion magazines and albums. The fashion illustration is also considered as advertising graphics, in which creation participated well-known artists in the field of fine arts and design. There is a clearly expressed author’s beginning in the image of fashion illustration using the computer technologies and achievements of modern design.

105-110

Authors: Yakukhnova Elena Gennadyevna

The article deals with the methodological aspects of the study of medical stereotypes. The article states that it is wrong to reduce medical stereotypes to prejudice. These stereotypes refer to the kind of professional stereotypes closely associated with the daily life of a person. They are widespread not only among physicians but also among ordinary people. This is mainly connected with the fact that health and disease issues are of top priority at any time and in any historical period. Their study is of high importance because a negative attitude towards medical activity can influence the treatment process. Medical stereotypes are simplified, standardized, stable, value-defined, emotionally intense representations of medical activity. They can be expressed through consciousness (mental stereotypes), language or behavior. Medical mental stereotypes are images, ideas about groups of people, objects and phenomena that have a generalized, emotional and value character. Mental stereotypes are connected with the content-related part of language and culture. Most studies of stereotypes in the field of humanitarian knowledge are devoted to their study. Language medical stereotypes are judgments, stable expressions, comparisons, clichés fixed in the vocabulary of both physicians and patients. They reflect stable, generalized notions of the medical system. Medical mental stereotypes can be objectified in language or in a certain ways of behavior (behavioral stereotypes). Objectivation in this case implies an expression in the outside. It is noted that behavioral stereotypes are based on mental stereotypes. Behavioral stereotypes complete the process of creating medical stereotypes in socio-cultural reality. Medical stereotypes are inherent in both individual and mass public consciousness. As well as any kind of social stereotypes, they are characterized by an ideal and objective character. The stereotypical actions due to their automatic reproduction often are not recognized by people. Therefore, one of the issues under consideration is related to the unconscious nature of stereotypes.

111-116

Authors: Rodionov Semen Grigoryevich, Kimeeva Tatyana Ivanovna, Polevod Vladimir Anatolyevich

The article considers the problems of objects’ conservation in museums of historical and cultural heritage of organic materials, the most exposed to destruction and loss in the presence of insects. The relevance of this study lies in the insufficient elaboration of the problem of physical preservation of museum objects: the study of the Museum’s scientific publications were devoted to the history of their creation, classification, methods of mainstreaming in their activities of the intangible cultural heritage, etc. Museum objects made of organic materials have devastating effect of temperature and humidity changes that creates conditions for the appearance and reproduction of biological pests. The result is not only damage, but a complete loss of objects of historical and cultural heritage. The study of problems of physical preservation of museum objects from the point of view of conservation as protection against biological pests, objects of entomology, is made for the first time. The authors of the article on the example of the Shor ethnographic collections identify objects of historical and cultural heritage of organic materials, concentrated in museums of different types, which reflects the traditional culture of the Shors, indigenous people of Kemerovo region. Among the two groups of cultural heritage: immovable, including architectural structures made of wood in the Museum under the open sky, and movable items of the Museum collections are defined by the types of Museum objects from various materials of organic origin. The causes of appearance of biological pests, characteristic for various types of museum objects, are revealed. Based on the results of the museum’s entomological studies, it identified pests and modern methods of preservation of objects that provide protection from identified insects.

124-130

Authors: Demeshko Galina Andreevna

Having been totally integrated into modern music, the variation poses a number of questions to science. Why has this ancient phenomenon risen among the stars of fine arts of the last century? What are the fundamental and cultural conditions for such rising that can explain its diffusion in compositions of various genres written in the 20th and 21st centuries? Why is variation so unique from the viewpoint of its appearance in academic practice in comparison to ostinato, imitation, and combination? How does it find a compromise between the ancient fundamentals of oral folklore forms creation and traditions of a European opus? What is a “new variation syntax,” which represents a result of the compromise? The central point of the author’s attention is the folklore genesis of variation, which is in discord with principles of professional music. The discrepancies lie in original perception models (collective – personal), the subject of variation (canon, archetype �������������������������������������������������������������������– �����������������������������������������������������������������subject), and the method of variation (oral ���������������������– �������������������written). Nevertheless, modern music exhibits a steady transformation from its usual “subject – variant” model to the “variants – invariant, canon” model, which is more usual for oral traditions. Different musical genres �����������������������������������������������������������������������������– ���������������������������������������������������������������������������from neo-folklorism to instrumental opuses of D. Shostakovich, B. Tishchenko, S. Gubaidulina, and other composers – reveal some indirect links to the most ancient forms of folk melody described by I. Zemtsovsky. The first one is the strophe melody, which draws on probable combinations of specific melody idioms. The second one represents forms of the strophe melody without any compositionally distinguished thesis that are more based on continuity rather than on development. Finally, the third link shows the forms, which are based on development of original ���������������������������������������������“��������������������������������������������intonational thesis.������������������������”����������������������� The function of variation here is the melody continuation, a constantly evolving original thesis that attaches individuality to every lyrical strophe melody. It is the third form that becomes a fundamental for so called “emergence of strophes” composition, which is widely used in various genres: from lyrical romanticism to the compositions written by D. Shostakovich and his followers. Having emerged in music of the 20th and 21st centuries, variation becomes a tool for a new syntax, which is an alternative to the opus tradition. It is based on weakening of the author’s individuality and making the new principles of formation more “oral”, specifically by making attributive characteristics of musical theme less distinctive and by intensifying improvisation capabilities of music in general engineeredfreedom, improvisation capabilities).

136-146

Authors: Shirieva Nadezhda Velerovna, Dyganova Elena Aleksandrovna

This paper continues the study of Sofia Gubaidulina’s Tatar-style music. A previous paper dedicated to the three cycles of pieces “Tatar Folklore Inspirations” explained the phenomenon of textual bilingualism – with “the own” as “the local ethnic” and “the alien” as “the European” – in the framework of polystylistics. Further study of the interaction between the local and the universal is conducted on other compositions based on the pentatonic scale: “Three Pieces for Two Trumpet” and “Tatar Dance” for button accordion and two double-basses.���������������������������������������������������������������������������������������������� The a����������������������������������������������������������������������������������������nalysis of these compositions by musicologists I.R. Basharova and S.M. Monasypov demonstrated the functioning of their tonal codes (I.R. Basharova) and identified the role of the pentatonic scale in the context of Rudolf Steiner’s theosophy (Sh.M. Monasypov), but did not shed light on the phenomenon of Sofia Gubaidulina’s musical bilingualism. The authors focus on this issue to determine the self-identification of the composer within the two cultures. The authors’ approach to “Three Pieces for Two Trumpets” and “Tatar Dance” in this paper is based on M.G. Aranovsky’s method of intertextual interactions determining the degree of manifestation of “the own” and “the alien”. Analysis of these pieces identified a dialogue between the national and the non-national at three levels: music lexis, interaction of genres and their corresponding music forms, and instrumental composition of music pieces. The study concludes that the interaction between “the own” and “the alien” in the composer’s Tatar-style music becomes increasingly sophisticated – from the ethnic core of the “Tatar Folklore Inspirations” triptych through the gradual blurring of folk modal and tonal structures in “Three Pieces for Two Trumpets” to redefined folk music elements in “Tatar Dance” and results in their unique synthesis.

164-171

Authors: Reshetova Natalya Mikhaylovna

Puppet theater is the only theater, which musical component has not yet received the necessary reviewing in science. The relevance of the study of the variety of theatrical art is evident for domestic musicology, due to a long tradition of puppet shows, as well as the popularity and demand for them in society. Nevertheless, specially written for the puppet theater music is a rare phenomenon in contemporary art. In connection with the foregoing, creativity of V.M. Natanzon is unique, important and significant for art. Creativity of composer Vladimir Mikhailovich Natanzon, working for more than forty years working in the Novosibirsk Regional Puppet Theater, is a unique example of service to children of this period, his music was delivered in more than a hundred performances. The analysis of these performances spoke about the diversity of their creative solutions. We have identified and analyzed three kinds of genre of children’s puppet performance in Novosibirsk Regional Puppet Theater: integrative fairy tale show, musical fairy tale and musical tale. Each of them has its own characteristics and its own laws. From a research point of view, the most interesting is a genre of musical fairy tale. It features a large number of musical episodes and various audiointonation events including leytintonation (leitmotif, leyttimbre). Musically rich and verbal speech, poetry and prose, which makes it emotionally expressive and clear for the youngest children. This allows us to talk about the presence of a sufficiently bright and rich dramaturgy in musical performances of V.M. Natanzon, as well as his sensitive soul of a musician, composer and subtle psychologist.

176-180

Authors: Aymakanova Anastasiya Petrovna

Regarding Liszt’s late work, there was a problem of communicative interaction between the composer and the audience. Praised for his performing mastery at the beginning of his creative career, Liszt was discredited as a composer. The so-called Roman period, during which the composer enriched his experience by studying the church and pre-classical compositions, changed his aesthetic views. Although even before that, in every note Liszt had been heading to the future art. That is why the image of Liszt’s late piano opuses appeared rather unexpected and quite unwanted by the audience. The quality used to be inseparable with virtuosity changed. The image of programme idea also changed – it became short, scarce, and at times delusive. The pitch, meter and rhythm sides transformed nearly beyond recognition. These Liszt’s compositions almost were not played, and they were not published in the composer’s lifetime (the first publication was dated 1927). The distance between the author and the audience was increasing and it led him to the category of an ‘incomprehensible genius’, one of the major parts of the romantic aesthetics. Unpopularity of Liszt’s compositions at the turn of the century and the first third of the XX century is explained firstly by incomparability of his innovation and the radicalism of the Second Viennese School, experimentations with preparing the grand piano, quarter tone technique, etc. and secondly by contradictions of the compositions content and the requirements of the era. Thus, the late works of Liszt demonstrated an increasing contradiction with the new era. Nevertheless, further analysis of Liszt’s late opuses showed how serious was the creative anticipation of his experimental compositions.

185-189

Authors: Pechkurova Liliya Semenovna, Grigoryants Tatyana Aleksandrovna

The result of the understanding and comprehending of all special disciplines and professional practical knowledge of the theatrical school for both, the actors and for the directors, is a training play. Not only the obtained in the school knowledge and skill, but also conceptual directivity of the director of an amateur theater are reflected and expressed in it. A training play, as any play in the professional theater, is interaction of three independently existing texts: dramatic, producer, and actor’s, each of these texts is original and has its own author. The literary basis of a training play is determined by many different factors. It is initial pulse to the generation of the art means and art image of the play, which is organized and materializes by director – by the author in the specific expressive means, a quantity, “quality” and place which depends on the practical experience of producer, his talent, professionally able to determine the need for the presence of one or another element. There are many different art means: music, painting, plasticity, choreography and many others. It is not easy to determine the principle of connection and embodiment of assumed expressive art components for the beginning director. It is a complex professional task. The quality of the realization of actor’s text (stage) depends on quality of professional preparation and training of performers, on their skill to exist in a creative ensemble.

201-210

Authors: Silkina Olga Sergeevna

The paper examines present day legal documents on patriotic education of young people at the federal and regional levels. The paper characterizes peculiarities of legal framework in the sphere of patriotic education of young people. In the aspect of the question, the author of the article investigates various approaches to the content understanding the “patriotic” concept. The problems related to the theoretical underpinning of patriotic education problem as well as its components, formation and development of the concept environment on the ground of scientific works by foreign and Russian authors: in the historical aspect from the standpoint of philosophy, pedagogy and psychology. The defining moment of patriotic education is creation of optimal forms, methods and instruments, conforming the requirements of current generation. Based on this, special attention should be paid to the content of educational subject in the context of supplementary education, having the greatest opportunity for education in the implementation of artistic and patriotic education of youth. The content of such training is determined not as much by their level of knowledge, skills and competences, as the formation of the value system of personality that directly affect the development of patriotic, moral and spiritual values of personality. The author proves that motivation for the practical use of various forms of artistic activities is one of strategic components of artistic-patriotic education. The operational definition is represented as “artistic-patriotic education” and is described by the author as one of the directions practically realized in supplementary education environment.

216-221

Authors: Ustimova Olga Vladimirovna

The article deals with the creation of organizational and pedagogical conditions capable of improving the quality of training the specialists in the sphere of culture, the need for which is increasingly felt in the labor market. The actualization of this topic leads to the need to manage the process of quality training the specialists through changing the existing conditions. The general trend in the development of education in the world is characterized by a new stage of educational activity and the transition to qualitatively new forms of education management, in particular, to quality assessment, as the basis of the feedback method, which has significant advantages in comparison with directive management. In the process of assessing the quality of training the specialists, a multi-subject consumer and goal-setter of education are formed: the academic community, employer, society, trainee. Each of the subjects differs in its ideas about quality education. For their practical implementation, various tools for the objective assessment of the scientific and educational potential have been created. This practice covers all subjects of educational activity, however, students practically do not participate in the educational process in this capacity. To solve the problem of the quality of education, employers are involved, but the party most interested in the quality of the acquired services is the students who do not have the instruments of influence fixed as one of the organizational and pedagogical conditions for the quality training the specialists in the sphere of culture, which necessitates their development and justification.