Vestnik KemGUKI

11-121

Authors: Alekseeva Larisa Sergeevna, Sr. Instructor, Department of Museum Sciences, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: alekslora@mail.ru Olenich Lyudmila Vladimirovna, Associate Professor of Department of Culturology, Member of the Union of Artists of the Russian Federation, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: olenich_l@mail.ru

In the fi rst quarter of the 20th century, the idea of priest Pavel Florensky about the “living museum” was being formed. Combining the experience of religious faith with symbolism, aimed at the search for a holistic vision of the world on the basis of sacred ideas, there appears the idea of preserving the heritage of the Russian Orthodox Church and the traditions and customs existing therein, in the synthetic activity of the museum and the Church. On the example of the Trinity Lavra of St. Sergius, priest Pavel Florensky under the church “living museum” presupposes the preservation (conservation and museumifi cation) of the integral museum organism as a complex that combines the sacred space of the temple and the activities of the monastery’s inhabitants, material and intangible heritage, for the idea of the Universe and Revelation. The author of the concept supposed to turn the Trinity Lavra of St. Sergius into a kind of laboratory where the church ritual life, educational and scientifi c institutions were combined, which helps to preserve and study the “spiritual making” of the monastic community. Given the complex historical conditions (of the 1920s), in which the concept was developed, its application could not be implemented. With the revival of the Russian Orthodox Church at the end of the 20th century, there was a quantitative growth of church museums, which were primarily designed to carry out social and communicative activities (through the accumulation, storage, broadcasting) of monuments of religious origin. Therefore, before the museologists arose the question of fi nding the methods for actualizing the church heritage while preserving its sacral content. The authors of this study consider a number of methods existing in museum practice of actualizing monuments of religious origin to meet certain elements of the Florensky “living museum” concept but also expand the possibilities for its application.

19-23

Authors: Dr. Mritunjay Sharma, Assistant Professor, Department of Music, Himachal Pradesh University (Shimla, India). E-mail: drmritunjaysharma@gmail.com

The folk music is an indispensable element of culture and daily life of people in Himachal Pradesh, an Indian State. Himachal, known as the ‘Dev Bhoomi’ or Land of Gods, has rich music traditions. Kinnaur, one of the twelve districts of Himachal Pradesh, is a very hard area located at an altitude ranging from 2320 meters to 6816 meters. The cultural life of people in Kinnaur is refl ected in their lifestyle, customs, rituals, languages, folk songs, folk dances, festivals, fairs, art and religion. While facing the challenges of living in the harsh climatic conditions in the inaccessible area of the Himalay, the Kinnauras have still preserved their cultural legacy. While deliberating on the folk music of Kinnaur, one fi nds relation between its folk dance, folk songs and instruments. Most of the musical instruments are used with folk dance. These instruments are played on all occasions from birth to death, hence, their signifi cance cannot be ignored. The folk instruments of Kinnaur are very antique and if the care is not taken, they will lose their identity.

29-36

Authors: Egle Lyudmila Yuryevna, PhD in Culturology, Associate Professor, Associate Professor of Department of Musicology and Musical Arts, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: legle@mail.ru Markov Viktor Ivanovich, Dr of Culturology, PhD in Philosophy, Associate Professor, Professor of Department of Culturology, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: vikt-markov@yandex.ru

Contact cultural worlds are considered in the article as a systemic phenomenon, and it validates the submission of a system approach in the research. At the refl exive-methodological level, this approach fi rst appears in the 19th Century on the wave of reaction to the mechanics of the natural sciences and the positivistic ideal of science created on this basis. The rigid-systemic views of the early L. White were next, the development of the structural-functional methodology of B. Malinovsky and A.R. Radcliffe Brown, a fi erce debate about the benefi ts and limitations of systemic thinking. A new stage in the approach development arises with the fi rst attempts to formulate the system principle as the basis of the general scientifi c method in the works of L. von Bertalanffy. In general, the development of mechanisms and instrumentally signifi cant aspects of the system approach began only in the second half of the 20th Century. In particular, this is due to the formulation and allocation of the so-called “systemic effects.” With the contact of cultures, a lot of cognitive problems arise, related, both, to the stages of such contact and to its variations associated with the peculiarities of the situation. These features are determined by the nature of correlation of value systems of interacting cultures, and general tendencies of the Epoch. But in many respects, it is also the sphere of culture, in which this contact fl ows. From this point of view, the problem is considered in the sphere of music and singing culture of Russian Germans caught up in a foreign culture environment. Since it belongs to the emotionallysensual and, hence, the value kernel of culture. Since of Germans had appeared in Russia, the system of musical and cultural interactions of the Orthodox with Catholics and then Lutherans, was being started to form. Germans, who migrated to Russia in the 18th Century, created favorable conditions for life and, fi rst, freedom of religion. They formed mono-denominational settlements whose basis of life was religion and religious communities, which contributed to the preservation and isolation of musical and religious traditions. At the turn of the 20th and 21st centuries, the spiritual chants still occupy an important place in musical culture of Russian Germans. The impact on society of a different culture is an important factor in socio-cultural changes taking place in the world. Intercultural interactions are an integral part of development of culture and contribute to changes taking place in it for many centuries.

42-49

Authors: Filin Dmitriy Anatolyevich, PhD in Philosophy, Associate Professor of Department of Culturology, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: dmitri.fi lin1@yandex.ru

Plato was the fi rst consistently thinking apothatical theologian in the history. All “upper” hypostasis of his philosophy he determines apophatically, so as the concepts of light and beauty. Plato is the fi rst philosopher who explains rationally the transition from the unity of oneness to plurality, from non-being to being applying the dialectical method in his dialogue “Parmenides.” In this dialogue, the God transcendental to all existent predicates is thought as the Nothing. Herewith He is the Nothing that generates the plurality. That is actually He contains in Himself the unity in all fullness of its senses. Thereby He is the integral whole of over-and-non predicates of all being. In fact, Plato for the fi rst time in the history justifi es the use of the apothatical method without which the systematization of the apothatic theology is impossible. In the Plato’s apothatic the divine being is always a mystery which is the fundamental principal of our thinking. It is the difference between Plato and Kant. For the latter one, the concept of noumenon has exclusively negative extension towards the sensitive experience. That means that in that period the concept of the divine mystery keeps gradually leaving the West European culture. One can see the reduction of the divine mystery in the total immanentism of the Absolute to the human cognition in the Hegel’s philosophy. According to Feuerbach, it is a fantasy child and entirely disappears out of his philosophy. Due to the fact that the concept of the Divine Mystery keeps gradually leaving the life and the thought of the XVIII–XIX centuries, the human existence appears as the bad infi nity of the human mysteries. To put an end to the absurdity of life, the modern human should use Plato’s experience, his apothatic teaching of Unity of Oneness.

55-61

Authors: Volkova Tatyana Aleksandrovna, PhD in Philosophy, Associate Professor, Department Chair of Philosophy, Law and Social and Political Subjects, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: tatyanaolkowa@yandex.ru

The prolonged transformation of Russian society caused a revision of the established system of values, which affected the state of all types of human relationships, including family ones. Modern humanities expand the methodological apparatus used to study the family. The article reveals the potential of the gender approach as perspective in the context of the modern socio-cultural development of the family. The initial methodological grounds for this approach are seen in the works of R. Stoller, M. Mead, M. Rosaldo, S. Ortner, L. Lamfere, and also in the classical works of E. Durkheim and V.M. Khvostov; in the works of feminist science: B. Friedan, D. Scott, R. Sieger, G. Bock, S. Bem, M. Kimmela, etc. The presented work summarizes the results of domestic gender studies since the 1990s: the most elaborate point of view of the above paradigm of the sphere of scientifi c knowledge (sociology, history, political science, economics and research on social policy, social demography and sociology of the family, law, etc.). The interdisciplinary nature of the studies, carried out on the basis of general methodological grounds, necessitated the formation of an independent branch of science -- gender studies -- which today largely determines the leading trends in understanding the problems of the family. The article emphasizes the traditional research directions for the family history: criticism of traditional asymmetric socio-cultural practices; development of a gender theory of patriarchy as a social structure; analysis of gender models of personal identity, gender attitudes toward one’s own and the opposite sex and gender stereotypes of family interaction; correlation of gender and synergetic approaches; processes of gender identifi cation and socialization. In conclusion, the new methodological possibilities of gender approach are explicated: the development of a deeper, more meaningful understanding the social justice in a gender context. We are talking about the levels of the value-motivational sphere of man, which are gender-different and focused on the problems of spiritual freedom and the possibility of self-realization of a person. Hence, the expansion of the research fi eld of the gender paradigm in the actual comprehension of the family is seen.

66-70

Authors: Solovyev Vadim Anatolyevich, PhD in History, Professor, Department Chair of Journalism, Moscow State Linguistic University (Moscow, Russian Federation). E-mail: kafedra-2010@mail.ru

The modern stage in the development of the Russian Federation is characterized by the search options for the progress in the development of the society. As shown in the article, one of the possible effective development ways in the socio-political sphere in this country is the use of students’ Internet communications. The students representing a numerous and important part of youth as a resource by which a state power and public organizations can provide the harmonization of various social groups interests. Communications in modern society are so important that reasonably can be considered as conditions for the society existence and development. They originated from peoples’ practical needs to exchange different information. In the article, we discuss the goals and communication functions changings under conditions of the Internet. Its communications implement the traditional messaging functions, develop them, and this can result in both positive and negative for the social and personal development consequences. In areas such as education, interpersonal communication, information exchange, Internet communication can be evaluated positively. Along with this, high speed of information dissemination in the Internet and a large number of recipients can lead to various socio-political risks, including different kinds of instability. Theoretical works and empirical studies’ analysis allowed us to identify the main problems of Internet communication as a factor of intensifi cation of socio-political activities of students. The paper presents the identifi ed research directions of determined problems.

75-85

Authors: Zvyagin Sergey Pavlovich, Dr of Historical Sciences, Associate Professor, Professor of Department of Russian History, Kemerovo State University (Kemerovo, Russian Federation). E-mail: whitesiberia@narod.ru Makarchuk Sergey Vladimirovich, Dr of Historical Sciences, Professor, Professor of Department of History, Kemerovo State University (Kemerovo, Russian Federation). E-mail: makarchuk-sv@mail.ru Timerbulatov Dmitriy Radikovich, Methodologist, Municipal Budget Educational Institution of Continuing Professional Education “Scientifi c and Methodological Centre” (Kemerovo, Russian Federation). E-mail: dmi924512@yandex.ru

The article is devoted to the cultural life of Omsk, one of the most important cities of Siberia, on the basis of a wide range of sources (archival documents, periodicals, personal documents) to a certain extent, re-created cultural and leisure of everyday life of the city. The authors used the newest results of theoretical researches on problems of the cultural needs with the necessity for their consideration in the context of socio-economic and political conditions of that time period. The study presents the offi cial activities of high offi cial of the Commencement Ministry V.V. Edlichko and his long interest in the works of Russian and foreign art. His position in life was an active. This resulted in the creation on its initiative of the society of artists and art lovers of the Steppe. The city had an art Studio where the exhibition took place. All this to some extent infl uenced the cultural life of pre-revolutionary Omsk. The identifi ed forms of participation of V.V. Edlichko in cultural life of Omsk. It was expressed in the initiation of creating a society of artists and art lovers of the Steppe region, which he led. For some time, he fi nanced the operations. Finally, his collection of art objects was bequeathed to the city. Today, these artifacts are in the collections of several museums. The article contains a conclusion on the formation on the example of the Eastern regions of the foundations of civil society in Russia in the early XX century. Due to the nature of the city, its role here was played by the bureaucracy, in which V.V. Edlichko occupied a special place. This process was interrupted by the First World War and Civil War.

93-99

Authors: Amgalanova Mariya Viktorovna, PhD in Culturology, Associate Professor of Department of Philosophy and Culturology, East-Siberian State Institute of Culture (Ulan-Ude, Russian Federation). E-mail: amgalanova@ rambler.ru

Cultural heritage, its preservation and transmission are the most important ways of existence of culture. Everything that was created by humanity is our common heritage, which we must preserve and pass to future generations. This article examines the spiritual values of the Buryat people, which were refl ected in literary work of B. Baradin. Literary heritage of B. Baradin, fi rstly, is a source of information about the origin and development of the Buryat national culture. Secondly, it is of great importance for the identity of the people. Thirdly, it is the contribution of the people in the national and world culture and civilization. Famous Buryat prominent public fi gure, scientist and writer Bazaar Baradin wrote dramatic works “Zhegden,” “Shoyzhid” and “Great Sister – Shaman.” These literary works have a unique historical and cultural value. The development of Drama in Buryat national culture depends on available to viewers in a period of the fi rst quarter of XX century. The playwriting of B. Baradin is a unique literary phenomenon which correlates with the global culture. Baradin mastered several foreign languages, was interested in studying the culture of other countries and herewith promoted Buryat national culture in Europe and Asia. He directed his activities to the revival of the Buryat people and his literary work is a prime example of creativity in the creation of cultural national and universal values.

122-127

Authors: Fattakhova Leyla Rinatovna, PhD in Art History, Associate Professor of Instrumental Performance and Musicology Department, Dostoevsky Omsk State University (Omsk, Russian Federation). E-mail: fattler@ omsu.ru

The forms of liturgical “recitative” found in the traditional Old Believer service (on the example of the communities of the Kemerovo region “popovskoe soglasie”) are considered in this paper. Various forms of recitative, based on different gradations of intoning types (such as speech, vocal, intermediate intoning), can be found in the liturgical practice of the Old Believers. Toned speech and the very vocal recitative seem to be the main forms among them. There are several types of liturgical “poglasitsa”: “formulnaya” (narrative), “psalmodicheskaya” and “osmoglasnaya”. Each of them has its own scope and is assigned to a specifi c text or group of texts. However, in practice this tradition is not always preserved and the individual manner of each reader comes to the fore. In this way the “poglasitsa” structure is simplifi ed as much as possible. This area of questions is also discussed in the paper.Nevertheless, the form of the liturgical recitative works quite steadily and in some cases is used even in singing genres (that expands the range of texts read). The compositional foundations of the liturgical recitative are also persistently preserved in the liturgical practice of the Old Believers. All the chants were written by the author during the expedition work in the Kemerovo region and are given in the author’s transcript.

138-145

Authors: Rusinova Elena Anatolyevna, PhD in Art History, Associate Professor, Vice-Rector for Science Research, Department Chair of Sound Direction, Russian State University of Cinematography named after S. Gerasimov (Moscow, Russian Federation). E-mail: vgik_sound@mail.ru

During the last three decades, there have been qualitative changes and improvements in recording technics and technologies in the fi lm industry, which have noticeably affected the sound quality of movies and, consequently, the perception of the audience. Sound has become one of the most important resources of artistical expressiveness in contemporary cinema, having infl uenced the aesthetic form of fi lm. The fast development of digital technologies has allowed the viewer to perceive the depth and variety of the acoustic and artistic aesthetic space of the fi lm in a new way, with all the intensity of psychological and sensual impressions. However, the current situation in the fi lm industry also reveals a number of problem areas relevant to the cinema art. Аmong them: the question of parity of acoustic and aesthetic parameters of the fi lm sound; the meaning of the sound component of the fi lm form in evaluation of the picture’s art quality; estimation of psycho-physiological, emotionally sensual and intellectual aspects of the audience’s perception of the elements of the fi lm phonogram in the creative process, etc. This article is devoted to one of these topical issues: the meaning of sound in the creation of aesthetic space in a contemporary fi lm. The purpose of the analysis was to reveal the possibilities of new multi-channel recording formats in creating not only sound ”movie attractions” but also meaningful, aesthetically signifi cant audiovisual spaces, in particular, using the example of the fi lm “Gravity” created in Dolby Atmos format. The analysis of the evolution of sound recording formats in the process of fi lm production and the reproduction of a phonogram establishes a direct relationship between the stages of the development of sound recording/sound reproduction technologies and changes in the artistic language of the cinema. The results of the analysis lead to understanding that even at the present time, in the heyday of sound technologies, the words of the great director S.M. Eisenstein, who wrote about the need for constant creative search for a unique sound-visual image in the context of its time and a specifi c artistic form, remain relevant.

154-158

Authors: Chepurina Vera Vladimirovna, PhD in Culturology, Associate Professor, Associate Professor of Department of Theatre Arts, Kemerovo State Universuty of Culture (Kemerovo, Russian Federation). E-mail: chepurina1@mail.ru

The article actualizes the search for means of expressiveness, conditioned by the requirements of theatrical art. The author claims that the technique of a modern actor must be universal for the variety of forms of modern theater. Examples of the expressiveness of an actor’s speech include: change of speech manners, connection of different modes of communication, transfer of a content at the rhythmic-melodic level, high tempo-rhythmic, pitch-sound, emotional mobility of speech, etc. Particular attention in the process of education of voice technology is proposed to focus on the possibilities of directed voice-speech training as an effective way of transition from a voice-talking adjustment of an actor to a voice-expressive expression of a stage image. The accent is also made on training for the play, the basis for which is the content, sound composition, intonation-melodic structure of the text. Exercises should give the right emotional mood, grope for the necessary characteristics of sound, search for a fi gurative expression of content. Searches and tests suggest both “home” writing, and improvisational statements on topics related to the problems and stylistics of the play. The advantages of directional training and training for the performance are associated with the consideration of specifi c circumstances, the emergence of real training necessity, the correspondence of exercises with the structure of oral speech, focusing on specifi c features of the speech of stage characters. The development of the

166-174

Authors: Davydov Viktor Petrovich, Professor of Department of Classical and Modern Choreography, Kemerovo State University of Culture, Deputy Artistic Director of Moscow Regional State Theatre “Russian Ballet”, Honorary Artist of the Russian Federation (Moscow, Russian Federation). E-mail: davip02051964@mail.ru

Recent reforms in the Russian education system, including the introduction of the competence approach in the actual teaching practice, created the need for choreography specialists to conceptualise the experience accumulated in the past and incorporate it into the theoretical dimension of general pedagogy. One of such principles underlying the training of choreographers is the principle of cultural conformity suggested by German educator V. Diesterweg and developed in the work of renowned Russian educators K. Ushinsky, P. Kapterev, Y. Gessen, and others. This article looks at the implementation of this principle in dance training (more specifi cally, within the system of choreographer training). This aspect has not been discussed in the literature on choreographic training before. Drawing on the analysis of historical traditions in the Russian choreographic education, the author shows the signifi cance of culture conformity in an effective training process at arts educational institutions. The author believes that cultural conformity in dance training is achieved through the application of classical traditions of the Russian ballet school, the Vaganov method in particular. Its logic and structure serve as a basis for the performing and teaching activities of graduates from choreography departments, regardless of what dance style they choose. In this sense, the Vaganov method is a true treasure of the Russian culture shaping its unique image.

181-186

Authors: Sergeeva Alina Yuryevna, Postgraduate, Department of Publishing and Library Science, Belgorod State Institute of Arts and Culture (Belgorod, Russian Federetion). E-mail: alinasergeeva91@mail.ru

A special role in all spheres of society today are given to the media. The media are gradually beginning to occupy a dominant position in the semantic production companies that has a huge impact on the life of each individual: his mind, emotions, feelings, the nature of its social practices and relations. However, it is necessary to consider the fact that they exist in a specifi c social context, and that there are different kinds of factors and conditions. An important role in the media is assigned to professional periodicals, which are a form of communication. Therefore, the article considers the Russian periodicals in the fi eld of culture, namely the library fi eld as a communication channel contributing to the increase of fl exibility and self-regulation of employees, training and improvement of their knowledge and skills, use, and dissemination of best practices. This is due to the fact that at the present time a new round of development of librarianship, including the modifi cation of the profession of librarian, begins to stand out. Professional journals are a valuable source of the latest scientifi c and practical information in any subject area. The range of professional periodicals in a library cycle is quite extensive. However, the problem is that most libraries do not have suffi cient funding, which affects the ability to subscribe to professional periodicals, depriving the librarians professional development and self-education. And it is a professional publication covering the innovations to describe the innovative techniques on their pages that refl ects an interesting debate and experience of libraries, print ready design for library events, and more. Therefore, library professionals are forced to produce the information they need. In connection with the above, the systematization of professional periodicals was performed. Publications are characterized by their diversity and specifi city and can be recommended to study by library staff.

194-199

Authors: Singach Artem Nikolaevich, Director of Innovative Teaching and Concert Production Center, Altai State Institute of Culture (Barnaul, Russian Federation). E-mail: singach@inbox.ru

The socio-pedagogical signifi cance of the prevention of youth extremism, necessity to implement a scientifi c problem and lack of scientifi cally based technologies in the theory, methodology and organization of socio-cultural activities devoted to prevention of youth extremism, led to the expediency of choosing the topic of research. The article attempts to analyze scientifi c literature revealing the state of development of concepts “extremism,” and “youth extremism.” The stated areas of scientifi c interest in the phenomenon of extremism for researchers in various scientifi c areas: legal, sociological, psychological, pedagogical, etc. The essence of the concept is clarifi ed from the standpoint of socio-cultural activity, which in the study is presented as a destructive phenomenon, accepted as socially dangerous illegal activity that violates the laws of democracy, rights and freedoms of an individual and a citizen. At tention was paid to the research in the fi eld of the problem of youth extremism, as well as to the work of methodologists and practitioners in the sphere of leisure activities. A diverse analysis, involving the political, sociological, legal and other contexts, made it possible to clarify the essence of the concept of “extremism,” it revealed a signifi cant discrepancy in its semantic load from adherence to extreme views and violent steps, unlawful actions to socially active positively diverting socially acceptable behavior. From the standpoint of socio-cultural activities, the concept of “extremism” was defi ned as a destructive phenomenon, which is a socially dangerous illegal activity that violates the laws of democracy, rights and freedoms of an individual and a citizen, as well as a wide range of social deviations, tolerance and approval of socially dangerous behavior. Factors provoking the young people to manifestations of extremism were revealed as certain socio-economic conditions in which a young man turns out to addictive behavior that provokes the desire to escape from reality by changing his mental state provoked by the use of various psychoactive substances, etc. Prevention of youth extremism from the standpoint of our research was defi ned as a complex system of pedagogical infl uence carried out in conditions of leisure, based on the combination and interaction of all aspects of the social pedagogical process, content, methods and forms of its organization, etc.

210-216

Authors: Kostyuk Natalya Vasilyevna, Dr of Pedagogical Sciences, Рrofessor, Director of the Research Institute of Intercultural Communication and Sociocultural Technologies, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: kostuk1978@mail.ru

The article is devoted to the analysis of modern tendencies of ethnocultural activity; the peculiarities of its realization in modern sociocultural conditions of the multinational region become one of the important factors of the formation of spiritual and moral values and upbringing the younger generation. In the course of the analysis, the author considers and interrelates the general goals and tasks of several modern regulatory and legal documents regulating sociocultural and educational activities in the context of strengthening the national unity, formation and development of civil identity of children and youth of the Russian Federation. Results of the scientifi c analysis allow the author to draw a conclusion about the important role and status of ethnocultural activity in the direction of building the harmonious interaction between representatives of different nationalities living in the territory of one region It is the importance of ethnocultural activities in the harmonization of interethnic relations, the essence and peculiarities of organizational forms, methods and technologies that determines its pedagogical potential in work with children and young people. The ethnocultural center is the main organizational form of ethnocultural activity. The author believes that the functioning of ethnocultural centers should be subordinated to the goals and objectives of state policy in the sphere of education and culture, since it is in this case that the person-oriented and educational potential of ethnocultural activities will be maximally disclosed and realized. The article considers the main levels and directions of the activity of ethnocultural centers, as well as the forms, methods and technologies of the realization of the pedagogical potential of ethnocultural activities in real practical events.

13-17

Authors: Maryina Marina Gumerovna, Zhukova Olga Ivanovna

The article concerns the content of the concept “corporate culture of modern Russian higher educational institution.” The article also proves the importance of studying this issue. The author tells us about the corporate culture of students and the factors of its formation (values and traditions). Student corporate culture refl ects and portrays general cultural trends hence higher education institution should be the connecting thread between classical culture and modern culture. The authors indicate the need to revise approaches to higher education, outline new ways of students’ existence in the transformed social and cultural space of higher educational institutions. A special role in the formation of corporate culture is given to traditions, through which it is possible to transfer the accumulated experience, create special forms of behavior and relationships. Through corporate traditions, it is possible to transfer corporate culture as values, norms and beliefs from one generation of students to another. The authors offer the following values for design of corporate traditions of students: the respect for the chosen profession; the development and professional improvement; the self-realization; the high degree of responsibility; the assistance; the aspiration to become successful; the patriotism. The traditions strengthen the corporate spirit, forming the image of higher educational institution; increase its competitiveness in education market. The study of issues of corporate culture in modern Russian higher educational institution allowed looking at this issue at a new perspective. In this context corporate culture can be seen as a modeled phenomenon established through forming cultural set of values. This will result in the increase of the higher educational institution reputation.

26-33

Authors: Dyukin Sergey Gabdulsamatovich

We apply to the question about relation between such terms as rock music and rock culture. These concepts are linked with phenomenon subculture and counterculture. We should research this context too. This problem got to our focus because rock music has important place in modern culture still. The main part of the article is devoted to overview of theoretical theses by Russian authors about these questions. Scientifi c rock discourse consists of aesthetic, sociological and anthropological approaches. Besides it we can talk about journalistic approach. One can call such authors as A. Vasilyeva, G. Vlasova, E. Kasyanova, G. Knabe, A. Kozlov, E. Myakotin, I. Nabok, T. Nevskaya, V. Syrov, A. Troitsky, S. Shapovalov. All of them had formed discourse on the base of concept of rock music. They introduced into the science concepts existence, protest, Dionysian culture, “Faust” civilization, individualism, forming, accelerated modernization, dedecation, cohesion, identity. These concepts help to introduce rock music and rock culture into discourse of philosophy of culture. In result of analysis we talk about following. Rock music is a nuclear of rock culture. It is combination of aesthetic and social facts. Rock culture has elements of subculture and counterculture. It can be described as cultural form. It is important to pay attention to difference rock music from pop culture. Rock is part cultural tradition and it broadcasts Dionysian culture. The main element in the semantic content of rock-culture is identity function. It creates the possibility for creation of new type of relations in postmodern society. Realization of this function is possible if rock music is a nuclear of subculture and culture form

40-45

Authors: Kabunova Elena Mikhaylovna

Traditional Buddhist painting thangka at the turn of XX–XXI centuries and the problem of its modern state is a topical question. On one side, popular thangka brush work is a combination of various styles or borrowing some elements or details from one style to another. On the other side, paintings of a number of modern thangka artists are characterized by the continuance of certain icon painting traditions. This article reviews the state of Buddhist icon in XXI century in case of Nikolay Dudko (Ulan-Ude, Buryat Republic) paintings. The art of Nikolay Dudko is a perfect example of conservation of classic Buddhist traditions in the XX century. His early brush work is defi ned by the combination of style elements of various artistic schools, but after his professional development Nikolay Dudko gained a venia docendi diploma of thangka artist in Central Tibetan menri style. The art review of various Nikolay Dudko’s thangkas allowed to defi ne main features of menri style presented in his works which remained unchanged to the present day. Also this analysis contributed to the determination of the icons created by Nikolay Dudko before his professional development. As the result of comparative analysis and description of N. Dudko’s thangkas (from the artist’s own collection and from the collection of Sukachev Irkutsk Regional Art Museum) we defi ned certain elements of the artist’s unique style and brush work and the possibilities of canon interpretation under conditions of self-given entity and reviewed the aspects of following classical tradition in XX century: author’s explication within canonical style.

52-58

Authors: Suvorova Irina Mikhaylovna

Relevance of the analysis is caused by unprecedented attention to a valuable subject from experts and the general public in the context of identifi cation of interrelations axiosphere of domestic culture of the crisis and post-crisis periods. The purpose of the article is the analysis of a problem of valuable crisis of culture of Post- Soviet perestroika which has affected not only the course of historical events at the end of the last century, but also specifi cs of a modern axiosphere of culture. Empirical data of sociological researches and comparative characteristic of different stages of cultural development from the historical and culturological point of view are widely used. System approach allows the author to consider a Perestroika axiosphere of culture in the context of transformation of its structure at the level of social and personal values, and also political, legal, ethical, religious, economic. From the synergetic point of view the axiosphere condition of Post-Soviet culture is estimated by the author as welfare entropy which is characterized by radical change of valuable dominants. In research, the author comes to a conclusion about infl uence of axiological crisis of Perestroika culture on formation of social dissociation as one of the reasons of civil war. Besides signifi cant fl uctuations of synergetic system of values of culture of this historical period, the author reveals a stabilization factor aksiosphere of culture in the form of union of the inherent values fi xed in a sociocultural phenomenon of education. In this context, values of education act as a peculiar conservative ideal which traditionally is the stabilizer of crisis states axiosphere of culture. The research can be of interest to experts in the fi eld of culturology, axiology, sociology, history, pedagogics and psychology.

63-68

Authors: Chesnokova Nataliya Alekseevna

The “Description of the Selected Villages” written in exile by an offi cial Li Chung-Hwan (1690-1756?) is the fi rst Korean book on cultural geography. It tells about the eight Korean provinces: their history, geography, historical anecdotes, poetry that praises Korean nature, and information about trade and routes. The book was written in Hanmun, a Korean form of written Chinese language. Right now it is being translated to Russian by the author of the article. The study is focused on the concept of “space” and its manifestation in the narrative of the “Descriptions of Selected Villages” where the “real space,” defi ned by the geographical boundaries, is connected to the “unreal space” that serves as a key element needed for understanding and interpretation of the text. Our task is to correlate the “space” and the text; to reveal the boundaries of the “unreal space” in, according to Li Chung- Hwan, was the Korean state in the 18th century, and to explain the reasons for this perception. We discovered that the “unreal space” described by Li Chung-Hwan is recreated on the basis of a Sinocentric model of the world where the “cultural center – chaos” opposition was transferred to international relations between Korea and the surrounding countries, and was based on the lost values of the legendary Chinese culture. At the same time, it is clearly seen that Li Chung-Hwan tried to defi ne the place for Korea in a new changing world through the formation of a new cultural space.

72-79

Authors: Bashtannik Sergey Vasilyevich

The methodological basis of this study is the research paradigm adaptation. Adaptation is aimed at providing people with the primary means of maintaining their lives: food, clothing, housing, etc. Types of adaptation are described as cultural and ecological complexes formed in a certain habitat on the basis of the data of ethnology, cultural studies and archeology deal with issues related to the processes of transformation (adaptation) of the material culture of the ancient and traditional societies to changes in environmental conditions. The author proves the thesis that society adapts to the natural environment of their habitat not only biologically, by changing the physiological, morphological, and other parameters, as by changing its economic activities and culture associated with ones. Culture is the main tool of adaptation, primarily material culture with which people not only have adapted over time to one or another of the new environment (ecological niche), but also transformed itself to this environment. Culture is understood as a means and a result of adaptation. Such processes of cultural adaptation are highlighted as adaptation tools, shelter, clothes to the new environment, the transition from foraging to food production economy or vice versa, refusal of some forms of the economy and the transition to another within the appropriating economy, the formation of settlement systems, depending on the changing priorities of economics, changes in diet and eating patterns. Also demonstrated adaptive role of the transition to more primitive forms of culture (regressive adaptation recessive). The landscape is considered as a source of life-supporting resources. Each landscape has a certain ecological potential, i.e. the ability to provide for the needs of people in primary (unrelated to production) livelihoods: heat, air, water, food sources, building materials, as well as in the natural conditions of work, life, recreation, etc.

94-99

Authors: Markov Viktor Ivanovich

The article develops the author’s ideas about the moral roots of modern terrorism from the point of view of the necessity of including the moral introspection of the modern civilized world and its crisis processes. Its central idea is that the need for such self-examination is one of the fundamental basics of understanding the ethical side of any confl ict since ancient times. In this sense, religious biblical maxims of the Christian world are in many ways more adequate to the moral foundation of the current world situation. The article gives a brief overview of the main trends in the consideration of domestic and foreign literature of terrorism in general, and especially ethical aspects of its distribution. It is noted that despite the diversity of points of view one side of the issue as a whole remains without suffi cient attention. This is the connection of terrorism and the moral crisis of the modern civilized western style of mankind, which provides rich material for moral resistance to this type of civility on the part of traditional societies, based on a rich moral tradition not only of Islamic countries but also of the Western world. While methodologically the focus is on the relative autonomy of the ethical motivation of terrorism and its Association not only and not so much with the religious attitudes, as is usually considered but more precisely with popular tradition. Although in ancient and current traditional communities to separate these aspects is possible only artifi cially. Next, the article puts forward the thesis that, oddly enough, the ancient Christian biblical maxims present more adequate understanding of the considered aspect. The article gives examples of abstracts, based on the biblical understanding the historical catastrophes as punishment to people for their own sins and calls of Christ to consider any opposition primarily from the point of view of their own guilt. The author believes that, although it seems strange, this increasingly provides the key to understanding the root causes of motivation of terrorism. Methodologically, understanding this aspect plays an important role introduced by A. Bergson, the notion of “closed morality”, which is not always understood by the subject and actually identifi ed in his mind with the customs and tradition. From this point of view the upgrading of standards seems to be a moral disaster and causes a reaction.

105-110

Authors: Kasatkina Tatyana Aleksandrovna

The internal philosophy of Dostoevsky’s works is needed by contemporary young people because the purpose of Dostoevsky himself in his works was to provide the reader with new behavioral patterns which can be used for elevating him to another level of thinking, of being and of interacting with the world. These new patterns are extremely demanded by the young people in the current situation of swiftly changing image of the world and in the current situation of swiftly changing man’s feeling of his place and signifi cance in the world. The questions at the same time central for works of Fyodor Dostoyevsky and most important for self-determination of the young people are: 1. What are and how to build man’s relationships with the world? Does a man depend on the world or does the world depend on a man? 2. Are evident man’s insignifi cance and powerlessness in the relationship of the world and a man – or omnipotence of a “little” man? 3. How is achieved omnipotence? How can I change the world? 4. What does it mean to “change the world, changing ourselves”? 5. Why sacrifi ce and complete commitment of youself (i.e., surpassing yourself) is not infringement, but is the rise and implementation of my being? How does man’s commitment become a way to connect to another and to the world and possibility to infl uence the other and the world? 6. How to give everything when you have nothing? Dostoevsky answers those questions by all his works – but especially in the “Diary of the Writer,” written in 1876–1877. But since the area where is possible to answer these questions has much more “dimension” then that “reality” which is familiar to us, those texts in the “Diary of the Writer,” where are the answers, marked with the word “fantastic” or the same genre’s defi nition

117-125

Authors: Leonov Evgeniy Evgenyevich

The article notes the role, importance and actuality of school museums in Russia in early XXI century, which can be traced since the advent of the fi rst school museums, allocated in stages. The most pressing problems of school museums are confi rmed by statute in the modern education system. The author identifi es six issues as the most serious: the state policy, structural exclusion, offi cial contradiction, human incompetence, intellectual dependency, internal coordination, staff shortages. The article shows that school museums in modern conditions are not quite well-defi ned in public policy as the relevant societies, often reminding the sector activity. This can be proved by the example of weak coordination policy in which nobody can identify the exact number of school museums in the country. Actuality of school museums is noted from the point of view of the element of the spiritual-moral and civil-patriotic education. It is shown their meaning from the point of view of self-realization of schoolchildren’s leadership qualities, career guidance activities. School museums stand out as companies engaged in search and research of local history orientation that allows you to lay the foundations of scientifi c work. It allocates a new stage of their development from 2010 to 2015, noted as “period of alienation.” It indicates the exit of the museum school at the new stage of development associated with the creation in 2015 of the Russian movement of schoolchildren, where in the direction of “civic engagement” highlighted the signifi cant role of local lore and school museums. School museums in the early 21st century stand out in the education system from the point of view of determining the multifaceted forms of education and discipline for accumulation of different ways of personal infl uence, where they constitute information and communication platform of local history studies.

131-143

Authors: Akparova Galiya Tolegenovna

Passage into the new socio-cultural formation needs understanding the XX century music historical events. Study of one of the important category of Kazakhstan chamber-instrumental music – sonatas, taking the specifi c place in value system of domestic culture – is the high priority matter. Within the framework of main matter for modern music science, the most important problem of sonata composition by Kazakhstan composers. This new event in Kazakhstan music space started up in the middle of XX century, although intensive absorption stage of the main category of professional European tradition began in the 1930s. Semicentennial historical process of sonata category development in Kazakhstan music is put into three stage periodization: formation, development and modern status. Principal stages are marked in the article: 1) end of 1940 – middle of 1950 – sonata formation in the context of chamber-instrumental music; 2) end of 195-1980 – maturity of sonata thinking; 3) 1990 – researches of original composite solutions. Own style processes and trends are specifi c for chamber-instrumental sonata each stage of development. National specifi city of sonata oeuvre in different periods demonstrated variety of possible approaches in the synthesis of two cultures. Early models, being based on European culture, invocate or simulate folklore melodies, mature works, being rethought inventively the components of national music language, are based on classic romantic model, the modern sonata, being refl ected the sound atmosphere of modernity, had suffered a refusal to tradition of composition.

149-154

Authors: Buksikova Olga Borisovna, Kuznetsova Natalya Stanislavovna

The article is aimed at studying the historical information about the traditional performance of the South of Russia. Concert performances of folk musicians of the South of Russia in Moscow in the 1970- 80s allowed a wide range of listeners to get acquainted with the unique color of folk polyphony, and to see in original form the traditional choreography. These performances made an indelible impression on contemporary composers, writers, artists and served as a powerful impetus to the development of the folklore movement. As a result, the Southern Russian region became a place for regular scientifi c research expeditions, scientifi c and creative laboratories of all-Union scale, whose activities were refl ected in numerous publications of articles, monographs, music collections, audio recordings, video fi lms, photo albums. The active interest of collectors, the demand for folk musicians at the capital’s concerts contributed to the activation of folk singing, and the preservation of the traditional singing manner. This article presents an analytical overview of the notations of the folk songs of the region, highlights the activities of outstanding folklore groups that participated in the capital’s ethnographic concerts, compiled a list of records recorded at the All-Union Recording Studio, and discovered authentic sources that served as the main material for the creation of popular vocal instrumental compositions of the groups “Ariel” and “Ivan Kupalo” in the form of the translation of the folk song into the modern Slavic world.

159-166

Authors: Melekhova Kseniya Aleksandrovna

The article reveals the actual problem of the role of yurt and yurt-like architecture in the culture and art of the people of Central Asia. The work is based on an integrated approach, on modern cultural and art concepts, which led to a comprehensive methodology that involves the use of methods of historicism, comparison, comparison, bibliographic method and stylistic analysis. Special methods of historical and architectural research and typology have been used. To analyze the semantics of the culture of nomadic peoples, the method of contextual analysis was used. The purpose of the research is to reveal the peculiarities of the yurt-like architecture and determine its role in the formation and development of the picture of the world of the peoples of Central Asia. The formation of an architectural type “ger” is due to a variety of factors. Nomadic way of life introduced its yurt image of universality; the Great Steppe defi ned the attitude to the spatial solution; religious and ideological context infl uenced the semantic components; the cultural landscape has defi ned aesthetics. Yurt is symbolic. there are deep semantic foundations in its form, location, color, decor. So, the shape of the hemisphere personifi es the celestial vault that rests on the earth. Yurts are freely located in the parking area, have large spatial pauses, which reveal the idea of the boundless space and place in it of the universe of the nomad. The internal structure of the yurt is strictly defi ned by the functional, social aspects and traditional way of life. Their color is not random, it acts as a semantic dominant and determines the meaning of objects. A rich ornament reveals a deep ideological essence and ideas about beauty. In gers style, the features of national aesthetics appeared, and understanding the beauty, universality, philosophical meaning was revealed. The origin, formation and evolution of yurt-like architecture personify a picture of the world in which the rich ethnocultural traditions of nomadic peoples were manifested. In this work the characteristic of the yurt-like architecture of Mongolia, Kazakhstan, Kyrgyzstan attempts to fi nd common stylistic and semantic components characteristic of the architecture of the Turkic people.

173-180

Authors: Krylovskaya Izabella Ilyinichna

Studying the history of the Khabarovsk Regional Musical Theater, the author has revealed discrepancy of the accepted date of the basis 1926 and dates which are specifi ed in archival documents. The research of archival sources helped to determine the exact date, September 1, 1932 when a document on reorganization of musical drama theater and drama theater of the Far East region issued. The undertaken research undertaken by the author to change an old paradigm. The established new data promoted achievement of goals of a research: introduction of amendments into history of the Russian Far East Musical Theater. For scientifi c community, the new archival documents confi rming the author’s position are submitted. There was an established fact that theater organization was in 1932 but some circumstances forced to forget and invent about it a new theatrical legend. The new task: identifi cation of the reasons which have generated the version of history of foundation of regional musically theater of Khabarovsk occurring today is in parallel set. For realization of theater internal documents: fi nancial statements, staff lists, orders on theater are studied. One of the assumptions made by the researcher is a decision of the theater to celebrate the 25th Anniversary of the foundation. In one of theater orders for 1951 a confi rmation of this hypothesis has been found. The theater directorate has appointed commission of incompetent workers who on the basis of enough doubtful materials have made the historical chronicle of theater. As a result of the analysis of all available documents and facts, the conclusions about that original date was known in theater and “is forgotten” consciously have been created. The birth of a theatrical legend of a new date of foundation of Musical Theater in Khabarovsk was a deliberate action for a conclusion about a theater foundation in 1951. The date accepted today isn’t confi rmed as 1926 by any of the offi cial archival documents existing today.

188-195

Authors: Zykov Aleksey Ivanovich

The modern drama theater in Russia is rapidly fi lling with staginess of forms of representation of performances. Special attention is paid to an actor and those tools which allow to make his existence on the stage convincing and bright. The range of visual means is signifi cant: from natural human movements to art with pantomime and dance. This phenomenon needs to be scientifi cally researched. But in the beginning, it is necessary to fi nd out what represents the studying subject as it is designated in scientifi c literature and by practicians of theater. The address to thinkers and theatrical fi gures of different eras has shown that the uniform term doesn’t exist. Speaking about the movement of an actor, the terms, borrowed from dancing and plasticity arts are used. However, meanings of each of them are various. There is a conceptual confusion which at scientifi c judgment of a problem that is necessary to avoid. For this purpose, the author suggests to allocate a uniform concept from what already exists as “invention” of the new term that would be hardly accepted by practicians. The researching of linguistics data shows that only two terms most precisely capture the essence of actor’s visual means of expression: “plasticity” and “dance” but they are opposed each other by theatrical practicians. However, if to connect both them in one, it turns out that we receive required: working designation of all visual means of expressiveness of an actor. That’s why the author of the article offers for further studying the uniform term – “plasticity and dance”.

211-220

Authors: Eliseenkov Gennadiy Simonovich,

The enactment of professional standards for education and scope of production has a signifi cant impact on the development of educational programs in the sphere of artistic activities and particularly in the fi eld of graphic design. The purpose of this article is substantiation of the models for educational programs in the sphere of graphic design, formed with the requirements of both educational and professional standards in the fi eld of higher education and graphic design. Standardization allows unifi cation, systematization and classifi cation of the compound elements of educational programs. The article examines different types of standards: educational standards in the fi eld of graphic design for different levels of higher education, professional standard for graphic designers, professional standard for higher education faculty. The authors conclude that, fi rstly, standardization acquires a total character and, secondly, it gets more systematic quality in the fi eld of graphic design because of the extension of areas of standardization and increase in the number of objects of standardization. The authors propose ways of unifi cation of universal and professional competences for the development of educational programs, as well as justify the formation of holistic multidimensional models of educational programs in the fi eld of graphic design for different levels of higher education: for bachelors, masters and assistants.

13-21

Authors: Metropolitan of Kemerovo and Prokopyevsk ARISTARKH (Smirnov)

May, 24 is the day of the memory of the Holy Equal-to-the-Apostles brothers Cyril and Methodius, compilers of the Slavic alphabet and the first translators of the Bible and liturgical texts into the Slavonic language. In addition, it is the Day of Slavic Writing and Culture. The holy brothers Cyril and Methodius are equals and apostles, ascetics, missionaries, theologians, diplomats. Their life is an unceasing service to God and neighbor, an example of heroism, active service and contemplative knowledge of God. These saints are among the most revered in the Slavic and Orthodox world. The great significance of their work is also realized in the Catholic Church, where they are declared the patrons of Europe (Pope John Paul II), who served as a rallying of Christians on the continent (Benedict XVI). The experience of the author's participation in theMay, 24 is the day of the memory of the Holy Equal-to-the-Apostles brothers Cyril and Methodius, compilers of the Slavic alphabet and the first translators of the Bible and liturgical texts into the Slavonic language. In addition, it is the Day of Slavic Writing and Culture. The holy brothers Cyril and Methodius are equals and apostles, ascetics, missionaries, theologians, diplomats. Their life is an unceasing service to God and neighbor, an example of heroism, active service and contemplative knowledge of God. These saints are among the most revered in the Slavic and Orthodox world. The great significance of their work is also realized in the Catholic Church, where they are declared the patrons of Europe (Pope John Paul II), who served as a rallying of Christians on the continent (Benedict XVI). The experience of the author's participation in the Days of the celebration of Slavic writing and culture shows, however, there is a certain discrepancy between the theological-scriptural and the hagiographic interpretation of the activity of the Saints with philological and cultural studies on this topic at the present time. There is an underestimation of the church tradition of the exposition of the history of life and activity of the Slavic enlighteners, the significance of specific information about their spiritual exploits. The author took the trouble to fill this gap for a wide range of Orthodox believers, humanitarians, all true patriots of Russia.

27-33

Authors: Demchenko Georgiy Aleksandrovich

Nowadays, when bells as original objects of historical and cultural heritage have remained not even in each region of the country, researching them as the substantiated components of non-material heritage – bell-ringing – is notable for high degree of relevance. An attention to this subject is determined by the need for revitalization of historically authentic bell-ringing not just as a signal tool but as an element of culture of the Russian people. There are some bases that the church bell-ringing control system is a multivariant phenomenon of the Russian bell art, which originated from the Western European way of the sound extraction assuming rocking the bells and by the 17th century moved away from it in essentially another way. Further this factor promoted an origination and development of the Russian regional features, and belltowers have gained the characteristics which are typical for a musical instrument. On that basis of this article, the most extended from the existing bell-ringing control systems are discussed, one part of which has the modern author’s view and the other is based on centuries-old experience of the past generations. The problem to concretize and classify the available traditions of tuning, having marked out similar and distinctive features in each system, has been set in the article. In particular, Ural “classical” and North Russian “guselny” control systems are subjects here and analytical parallel with derivative subsystems, and ways of playing are formulated in the article.

45-53

Authors: Kazakov Evgeniy Fedorovich

The article substantiates the validity of claims about the two, fairly self-contained, the lines of human evolution, allowing to speak of “historical parallelism”. The first line is predominantly biological development (and finding expression in the dominance of material, bodily needs); the second – mostly svarbiausias development (which finds expression in the predominance of spiritual needs). These two lines are deployed with sufficient autonomy from each other. The development of man thus appears not homogeneous, but heterogeneous contranym (multi-directional) process. Two lines of evolution give grounds to speak about that led to the “two births” of a person, one of which can be explained by natural, the other supernatural (divine) causes. In this case, evolutionary biology and religious (wider, metaphysical) point of view, explaining the origin and development of the person – do not exclude but complement each other. In the “second birth” of mankind comes when it opens up their (human, planetary, universal) purpose, understanding the meaning of his stay in the Universe. A clear understanding of this not happened until now, which means that this stage of evolution has not been passed (resulting in low correlation of the individual fate with the fate of humanity). It is possible to speak of a “corporeal” birth of humanity, but his soul is still “broken”, which exists as a separate malosvyazannye segments. Deployable approach offers a new “reading” problems of theodicy: moral evil committed (and easy) the carnal soul (living mainly biological priorities), as for them such evil does not exist, but only physical evil (causing physical suffering, the suffering of the carnal soul). Throughout its historical path humanity is biologically one, but metaphysically diverse. Of the same order, as a whole, to the present time, it is more a possibility than a reality; more – becoming than who, in their deep intrinsic intentions; I did not grasp its main purpose, moreover, is not realizowania it. The paradox is that the “tectonic evolutionary crack” takes place not only through human “mental field”, but also, in varying degrees, through the soul of each person through “my” soul. And mankind, and man at the same time – and “child of God” and “child of the flesh”; movable and spiritual and carnal intentions under two evolutionary lines: for God and from Him. People in the mass, has not yet occurred. From this point of view, the history of mankind as integrity is, in essence, still the background to free the essential self-disclosure.

59-62

Authors: Klimenko Nataliya Sergeevna

The article raises a rather poorly researched theme – not child-oriented generation of women (“childfree”) as a bipolar category of hypertrophied child-orientation, demonstrated by some modern women who were called with interesting word “yazhemat”. The phenomenon of “childfree” is analyzed in the socio-cultural context as a counterculture, social movement and personal philosophy. The position of the highest child-orientation is analyzed as a manifestation of the matrifocality of Russian culture and child-centrism characteristic of Russian society. The collectivistic mood of Russian culture creates certain difficulties for the social acceptance of a position which is opposite classical child-centrism, which defends the right to childlessness. By the traditional Russian public mind, conscious childlessness is still perceived as the destruction of family values; however cause of influence of globalization and Westernization, the number of loyal Russian citizens, as well as citizens who have adopted the “childfree” ideology, is increasing every year. This fact often provokes the extremely child-orientated part of the Russian society to aggression to “childfree” as an alien cultural element. In response, another part of the population takes a defensive position, which often results in an undisguised verbal war on the Internet and in a variety of talk shows. The author analyzes the specifics of defending one’s own position by the representatives of both of the above-mentioned feminine categories, examines the national traits of “childfree” as a counterculture, social movement and philosophy of life. The article also assesses the further perspective of this phenomenon in Russian culture from the point of view of adaptation to generally accepted Russian cultural norms.

66-74

Authors: Polteva Irina Vladimirovna

In the Republic of Altai, the heritage of composers is stored in National museum named after A.V. Anokhin, Museum of Stone in village Maima, Maima district, Local History Department’s “Museum of Russian antiquity,” Secondary School No. 3 named after V.F. Khokholkov in the village Maima, Maima district, in Museum of the Tozyyakov dynasty in the village Uznezya, Chemal district. The National museum named after A.V. Anokhin is the heritage of composers A.V. Anokhin, A.M. Ilyin, B.M. Shulgin, A.A. Toziyakov, V.F. Hoholkov, V.E. Konchev. The beginning of composers’ personal funds formation dates back to the 1930s and continue to this day. The use of materials in research and publishing activities began in the 1980–1990s and it was associated with the study of life and work of the first director of the museum A.V. Anokhin. The analysis and publication of composers А.М. Ilyin, В.М. Shulgin, V.F. Hoholkov materials are conducted from 2014. The heritage of composers is used in the expositions, exhibitions, cultural and educational activities (excursions, lectures, museum lessons, meetings, musical and ethnographic evenings). The Museum of Stone in village Maima, Maima district, is a museum of the municipal district, a holder of V.F. Hoholkov’s heritage. It includes original documents and electronic archive received from the V.F. Hoholkov and his wife L.F. Khokholkova in the 2000s. Some of them are published in the book “My Altai, I Hug You.” The materials are widely used in the organization and conduct of Khokholkov readings. The “Museum of Russian Antiquity” is a museum of an educational institution. Since the 2000s, it is the custodian of evidence of life and work of composer V.F. Khokholkov, which were transferred from L.F. Khokholkova. They are used in the research work of learners, expositions and being the basis for cultural and educational work. The Museum of the Tozyyakov Dynasty in the village Uznezya, Chemal district, is a private museum. Among the materials, photos of A.V. Anokhin, memories of him, as well as photographs depicting composers A.M. Ilyin, B.M. Shulgin, A.A. Toziyakov, V.F. Khokholkov are stored. These materials are partially published in the journal “Kan-Altai,” book “Children of Cruel Time (about the Toziyakov family).” The information enclosed in the museum objects is used during excursions and events.

80-87

Authors: Ryazanova Anastasiya Yuryevna

The socio-economic realities and changes in the cultural life of the regions (recently) have brought understanding that the culture (as a sphere of the national economy) acts as a factor in the economic development of any territory. In our opinion, this understanding acquires special significance in regions that have a high potential for cultural and natural heritage. The whole sphere of culture is characterized in general and its place in the economy of the region is indicated. The article assesses the effectiveness of the sphere of culture, taking into account the specifics of the industry, and on the basis of sectoral and special methods, the criteria for the effectiveness of cultural institutions in the region are analyzed, such as: the share of the population’s employment in the sphere of culture and the percentage of coverage of the population by cultural institutions, book availability and the number of visits to museums, performances and concerts, film installations, etc. The importance of the sphere of culture as a qualitative factor in the social and economic development of the region has been scientifically substantiated. The example of Chelyabinsk region as a typical subject of the industrial and raw materials of the Ural Federal District examines the trends in the culture of the donor region, gives current recommendations on the effectiveness of management in the sphere of culture, taking into account financial, “human” and managerial resources.

96-103

Authors: Krasikov Vladimir Ivanovich

The object of consideration in the article are reviews of G. Marquez’s novel “One Hundred Years of Solitude.” The subject of the study is critical opinions in reviews and reviews of the novel on specialized Internet sites. The proposed article is an experiment of aggregating several hundred only critical reviews, which at different times, but during the last five years, were initiated by literary sites, social networks and bookstores, within the framework of various intellectual campaigns and flash mobs. As methodological tools, we use here the following: analysis of empirical data, generalization, classification, typing, comparison, construction and elements of philosophical reflection. The following are the results of the article. The author proposes a comparison of two groups of critical reviews: readers who can be classified as “field-dependent” and rigid people and those who try detached and critical to explore not only the novel but also their attitude to it. A special contribution of the author to the study of the topic is an analysis of the attitudes of people who perceive the novel and the worldview of its author in accordance with its cultural, ethnic and worldview preferences. The novelty of the research consists in aggregating critical opinions about the novel and their classification, in developing a version of the explanation of the phenomenon of attraction and discussion of the novel.

108-113

Authors: Paksina Elena Borisovna

Traditional ideas about cultural form are presented in this article. A presented morphological model is analysed, which intergrated elements are: a) purpose; b) ontological basis as cultural processes legitimation either in natural or in social sphere; с) essence as laws and consistent patterns combination, to which cultural processes obey; d) inner structure; e) external general structure including social, organizational and functional structures; f) artifact as cultural form interpretative realization in certain material product, behavior act or value judgement. General and specific art festival features as cultural form in the ratio of a holiday as another art form are also considered. Art festival morphological model is also mentioned: a) purpose – idea creation in different art forms, its realization and demonstration with help of competiveness and agon; b) ontological bases – certain legitimate way through cultural politics, federal and regional cultural programs; c) inner structure which is presented with “semiotic analogy” method usage (as connection of syntactics, semantics and pragmatics); d) external general structure – socio-organizational and functional – where the main roles belong to aesthetic, creative and agonal functions; e) artifact – creative groups, studios and so on. Differences of art festival from other cultural forms (holiday in this case) consist of purposes and results difference, functioning way, which means functions of combination in typical for a cultural form, consistent patterns combination which mean essence, cultural forms’ inner structures and legitimation ways which determine cultural forms’ existence. These differences in their combination determine specifity of art festival as a cultural form. As it can be seen from the above, an art festival is presented through its morphological model as a polystructural cultural form.

118-124

Authors: Yakovleva Darya Evgenyevna

Dehumanization of a number of cultural industries at the turn of the Millennium actualizes the problem of spiritual values. Currently, in the context of a search for national identity of particular significance, it gets the revival of the best domestic musical and educational traditions, the full development of which in Russia belongs to the second half of the 19th and the first decades of the 20th century. It is not only a time of climbing in all areas of scientific knowledge and the economy but the artistic culture, musical life. A kind of spiritual Chronicle of Russian art in historical and cultural space was created by F.M. Dostoevsky and L.N. Tolstoy, I.E. Repin and V.I. Surikov, and Mikhail Glinka and Modest Mussorgsky, Nikolai Rimsky- Korsakov and Pyotr Tchaikovsky, as well as many other original masters. That time was powerful heyday of national composer school, whose members have stepped up their activities, theatrical and concert life, musical education. The ideas of enlightenment through the musical communication structures for decades influenced the development of social thought, raising the cultural level of the people by introducing them to the world musical culture through the values. Consideration of formation values in patriotic music in the context of the historical and cultural development for this article is the underlying issue.

131-140

Authors: Dashidorzhieva Bairma Vladimirovna

In the article, the role of lacunarity of collective identity in process art is identified. On the basis of historical and cultural analysis of the art communities “Mitki,” “Fluxus,” “Gutai” and “the New Wilds,” the author defines lacunarity of collective identity as a cultural phenomenon of postmodernism. Quantitative and qualitative analysis of indicators of lacunarity of collective identity of art community allows to identify and describe the dynamics of the art community as a sociocultural phenomenon, its social capital. The theory of lacunarity is studied in the context of a class analysis as one of the tools of description of the social process and structure of modern art community as a substream. Lacunarity is reviewed by the author as a mechanism of collective identity crisis which requires from the art community to solve uncertainty, problems in the art market. In the article, a correlation analysis of the art community was conducted on variables that satisfy the conditions according to features and ways of social interaction of the art-communities, ways of overcoming lacunarity: behavioral strategies, level of overcoming the lacunarity, risks and uncertainty. If we compare the data for the variable “Features and ways of social interaction of the art community” we can see a clear dominance of the “Mitki” community which shaped the institutional environment in it: the presence and separation of all shared norms, values and interests, interpersonal trust. Self-management, international norms and values, identification with the group are characteristics of the art community “Fluxus.” The most popular way of overcoming the lacunarity is turned out to be a complimentary strategy which is revealed in the development of an eclectic style. This method is historically established for the art community. Moreover, from above described art communities, “Gutai” is an example of corporate ideology. Level of overcoming the lacunarity of collective identity in the art community showed a significantly high level due to their social capital expressed in behavioral patterns of the art community.

146-152

Authors: Naumova Natalya Alekseevna

In recent decades, due to the intensification of the processes of globalization and the exacerbation of intercultural communication problems, cross-cultural studies are becoming ever more relevant. With the help of these studies, scientists are trying to restore fragments of the linguistic picture of the world of particular ethnic groups, to reveal its originality and to define universal traits for cultures of different peoples. National features are fixed the most vividly in the idiomatic language. Studying materials were the Russian and Czech phraseological units related to the thematic group “healthdisease,” which includes somatisms: head, heart, stomach (голова, сердце, желудок). In this paper, by comparative analysis of phraseological units of thematic “health-disease” group with somatisms head, heart, stomach (голова, сердце, желудок) in Russian and Czech, the common features and the national originality of the dual “health-disease” concept for Russians and Czechs are revealed. The aim of the study is to identify national peculiarities in perception and verbal realization of one of the basic concepts in two Slavic cultures, the “health-disease” concept. It was achieved by comparing the Russian and Czech phraseological units with somatic components. Non-equivalent phraseological units with somatisms head, heart, stomach emphasize the national specificity of the “health-disease” concept. Full equivalents, on the contrary, confirm the universality of this concept in Russian and Czech linguocultures.

159-168

Authors: Skоrbyashchenskaya Оlga Adolfovna

The article is devoted to the examination of piano Etudes of one of the undeservedly forgotten German romantic musicians Adolph von Henselt (1814-1889), who lived and worked in Russia for 50 years. In the German musicology, there is extensive literature on A. von Henselt, written by Gebhard Kindl & Natalia Kеil-Zenzerova. The author of this article chooses for this research: Henselt’s Etudes op. 2 and op. 5. There is the first Russian analytical research of the Henselt Studies as a collection of textural pianistic formulas of the epoch and as a kind of encyclopedia of romantic mythology. Etudes of Adoph von Henselt op. 2 and op. 5 have received enthusiastic reviews by Robert Schumann. The context of the study is a comparison of the Etudes of Henselt, Chopin and Liszt, as well as the virtuoso works of Weber and Mendelssohn. The aim of the work is, on the one hand, to demonstrate the originality of Henselt’s works, and to show their inscription in the context of the era of German and European Romanticism, on the other. For this, the author chooses the methods used in traditional Russian musicology: analytical, comparative, historical and cultural methods. In the conclusion, the author analyses two poems written by German romantic poets Theodor Storm and Eduard Moerike, which are devoted to Heneselt’s Etude op. 4 No. 2. That Etudes of Henselt not only embodied the most important program images of German Romanticism but in general stand at the origins of romantic mythology. The author concludes that Henselt’s etudes not only embodied the most important ideas of German Romanticism but also largely determined it by influencing the music of the Romantic era and the poetry of German Romanticism.

186-192

Authors: Usachenko Natalya Alekseevna

One of really interesting but scantily explored classes of sources of theatre history and history of theatre studies are special theatrical dictionaries. As France of age of Enlightenment took leading position in development of theatrical art, it is not by chance that this country left us five such dictionaries. Special theatrical dictionaries as reference books tend to the most faceted description of all aspects of considered knowledge area. As the idea about what “the theatre” is can change over time, so the content of the dictionaries changes too. Consequently, analysis of special theatrical dictionaries of a certain epoch lets evaluate the scope of knowledge on theatre of the same period. “Dramatic dictionary” is a French reference edition of the XVIII century. Its authors S.-R. N. Chamfort and J. de la Porte continue and develop the tradition of special theatrical dictionaries that forms during all the century. Like preceding dictionaries, their work contains some articles giving information on plays of different epochs, on performances given in varying times, biographies of actors, playwrights, composers. However the authors inserted in their work circa 260 articles including explanation of different theatrical notions. The authors consider not only the notions of the theory of drama that had been repeatedly examined by theoreticians of XVII-XVIII centuries, but the notions describing such aspects of theatrical life as actors’play, stage design, performance in general. For the first time they combined different categories of knowledge about, theory of drama, history of theatre (information on theatre productions, biographies of actors, playwrights, composers), and such aspects of theatrical life as actors’play, stage design, performance in general. Such a content of the dictionary demonstrates development of notion “art of theatre”.

198-205

Authors: Vikhreva Galina Mikhaylovna

Transition to the post-industrial information society involves replacement of priorities and values not only in the sphere of economy and policy but also in that of culture and moral. Especially sharply, these processes proceed in permanently modernized Russia: lost or exposed to substantial transformation are traditional patterns and axiological aims in the system of human relations, in inter-relations of the society and nature, in international co-operation. In conditions of intensively transforming historical realities the library needs comprehension of its new role in public life, definition of its new position in the hierarchy of information-cultural values of the society, elaboration of modern ideological and methodological approaches, providing its viability. Such questions refer to the sphere of philosophy and answers to them defining the main directions of the library being. This causes ever growing interest of researchers to philosophic-methodological problems of information-library activities and great variety of elements of discourse practice, forming the new philosophic knowledge. The public institution “Library,” originally having valuable nature and directly and indirectly infuencing the formation of personality, is always in the context of moral-ethic norms, dominating in the society. The most actual today’s ethic self-determination of the library association is being composed under influence of axiological (value) aims, determined by a number of factors, with the postmodernist period of the contemporary world development megatendencies taking an important place among them. Library’s choice of that or any other ideological paradigm has not only functional but also ontological meaning and defines as a result a scientific and disciplinary status of librarianship, aims and ideology of the library as a social institution, its value-sense orientations. Despite discussional character of judgements presented in the article the majority of reaserchers regard today’s library as rationally and aesthetically based social-cultural centre of humanistic book-science with free acsess of local and distant users to its document collections and dialogic subject-subject communication of readers and employees.

225-231

Authors: Li Yue

In the beginning of the 20th century, due to the introduction of the Western music and creation of the new music thought, great changes took place in the Chinese musical education. Students, learning foreign music achievements abroad, returned to China. The traditional model of the Chinese music education began to change. “School songs” appearing at the beginning of the 20th century marked the new stage of the Chinese musical education. With the changes in the national political environment, Chinese musical education went through several stages of its development that is marked in the article. The author concludes that all the events named in the article had contributed to the vigorous development of the Chinese pedagogical musical education nowadays.

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.

13-22

Authors: Minenko Gennadiy Nikolaevich, Latyshev Andrey Adrianovich

The reason for the low dynamics of civilization reforms in Russia in the late XX – early XXI century. The authors see in metaphysics of the Marxist paradigms that dominate the public consciousness of representatives of the Russian ethnos, which was the result of Soviet political practices. The methodological feature of the concept of “socio-economic formation” is the absence in this explanatory model of the subjective component of human personality. The tragic results of Bolshevik management practices and slowing civilizational development of the Russian ethnos is due to the denial of farmers’ individualism and their household institutional arrangements, which, in turn, led to the loss of the ability to Russian civilizational identity and the collapse of social and evolutionary development. The authors see a significant vector exit from the crisis in the restoration of the peasant economic structure and catalyzing the Russian government influence on its development. To demonstrate the features of the peasant way of life, which the authors consider specific cultural form, the article attracted considerable material of the pre-revolutionary researchers of economic behavior of the Russian peasantry. Actualized as a little-known observation of representatives of agricultural intelligentsia in the 1910-1930s of the Russian state policy in relation to peasant farming in the last period of the Empire. According to the authors, a lot of interaction between agricultural science and practice of the period is applicable to the present time.

33-40

Authors: Manzyreva Ekaterina Sergeevna

This article is about cultural analysis of the art image of Eastern Siberia. The main purpose of the article is to identify the factors that influenced the formation of artistic creation and the image of the regional culture. At the beginning of the article the author gives a definition of the concept of regional culture. This is the field of spiritual and practical activity aimed at the creation, dissemination and exploitation of art works that reflect the cultural and historical characteristics of a particular region. Then, the author goes on to describing the factors that, on her opinion, formed the image of Eastern Siberia. First of all, it is a natural factor, i.e. geographic and climatic characteristics of the region. The next factor is the multi-confessional and multi-ethnicity. The third factor which influenced the image of Eastern Siberia is using the edge as a place of exile and hard labor. Characterizing each factor, the author explains how it could influence the artistic process. According to the author, this influence is expressed primarily in the content of art works, as well as means of expression and style of works. For example, the natural characteristics are reflected in the poetry, the landscape genre, and arts and crafts. Features of landscape and religious beliefs affect the architectural appearance of the city of Eastern Siberia. The theme of the traditional way of life of the folk of the region is common in literature and painting. The paper compares the artistic processes taking place in the pre-revolutionary period and during the Soviet era. In the end, the author concludes that the art image of the East Siberia developed in the early twentieth century and reflected all the features of the historical and cultural development of the region.

46-50

Authors: Shikaleva Irina Anatolyevna

Considering the questions of socio-cultural dynamics, the modern world carried out according to a number of tendencies, defining the main problems for identification process in culture, designating the statement for significant role in its transformation. Strengthening the intensity of identification dynamics in culture is dictated by the identity crisis stimulating the development of new forms for fixing experience and, being the trigger influencing process for forming the global identification program, and works as an obstacle in establishing uniform criterion in explaining identification mechanism for culture self-determination at the level of attitude towards itself, and at the level of attitude towards other cultures in the context of world scale. These circumstances force to think on consequences of these processes in culture forming necessity for studying the meaning of the definitions “identity” and “identification”. The aim of article is the possibility for defining the main tendencies of solving the problems for implementing the identification processes focused on establishing “complete world identification model” and its modification in local cultures. These tendencies are found in changes for identification practices under the influence of institutional mechanisms of identification in culture, focused on establishing communicative potential and valuable reference points of self-identification, their moral content is dictated by satisfying spiritual needs of society and safety of a cultural space, demanding localization according to the set samples.

56-61

Authors: Truevtseva Olga Nikolaevna

The article is devoted to study of the university museum activity experience. The main attention is paid to defining the place and role of the University Museums preparing the future professionals for preservation and reproduction of cultural heritage. The main materials used from the Conference of the two Committees of the International Council of Museums (ICOM): Committee for museology (ICOFOM/ASPAC) and Committee of University museums (UMAC) “SCIENTIFIC, TECHNICAL, AND CULTURAL HERITAGE OF THE UNIVERSITY”, which was held in November 2016 in Taipei (Taiwan). More than 300 experts and scholars from 18 countries, including Russia, Singapore, Japan, China, Taiwan, Hong Kong, Malaysia, Germany, UK, Poland, Czech Republic, Iran took part in that conference. The analysis of researches of foreign scientists shows that the functions of University museums in different countries are mostly the same. They can be classified into three groups. The first group is associated with features inherent for all museums: the identification and selection of items for collections, study, organization of accounting and storage of museum objects, exposing, and securing the museum communication. The second group of functions is due to the use of the museum potential for training the future specialists. The third function group displays the museum outside of the university. The third function works on social and surrounding medium, forming the positive image of an institution, recruiting the new generations of students. However, as the study shows, the Russian museums are behind in organizing and conducting the scientific research, development of cooperation between museums, organization of joint researches of scientists of universities and practitioners of museums.

67-75

Authors: Yudin Maksim Olegovich, Glushkova Polina Valeryevna

Museumification of architectural sites in many cases is the only possible way of preserving and updating. In Kemerovo region to date there is no museum presenting the Russian architectural heritage while the region has a great historical and cultural potential. The objects of wooden architecture is rapidly lost in the medium of existence and creation on their basis of an open-air museum will preserve endangered heritage formation. The village of Red Leninsk-Kuznetsk area is one of the oldest and largest villages in the region in the 1990s in the village conducted ethnographic research, the project architects in the open-air museum has been developed. But the project was never implemented, and identified objects continue to deteriorate. The paper developed approaches to architectural objects museumification: defined conservation methods, restoration and interpretation of exposure. When choosing a museumification method, it is considering the architectural features of the objects, their state of preservation, and other characteristics. The village has preserved religious, residential and farm buildings. Trinity Church, a cult object is invited to keep using the method of soft museumification. One of the most important residential buildings, house of merchant Pyankov, museumification is offered on the site and used “as a museum”, this technique is applicable to the barn Pyankov. Residential buildings can be saved on the basis of soft museumification. And for the restoration of historical and cultural landscape is appropriate to use the methods of reconstruction and translocation. The proposed measures will create the village as “living museum”, which is effective for the preservation of historical and cultural heritage, and for its presentation, and for the development of tourism in the region. In addition, the creation of such a museum will create more jobs for local people and involve them in the process of preserving the heritage.

90-97

Authors: Chigareva Evgeniya Ivanovna

The main thrust of this article is reflections on intercommunication between the word and music by man greatly renown A.V. Mikhaylov, a unique scholar with wide range of scientific interests. His creative works reflects him being a master of several branches of humanities, like philology, art criticism, translation activity and musicology. Understanding the complexity of his thinking is very important for music science, which exists, in the large historical-cultural context. In this article, the issue of the word and music is discussed in various aspects, the word in music (a title, possibly a programme, epigraph, remarks as “music enveloped in word layers”); music in the word (“Music as an event in the history of word”), musicality of a piece of literature, “a hidden word” and “a hidden music” (of special significance in the 20th century). Mikhaylov also turns to stylistic parallels between writers and musicians belonging to the same national tradition (largely on the material of Austrian literature and music). The author touches upon an issue of certain music organization of a given literary piece. She also discusses the revival of sacred meaning of silence, quietness, pause in music of the last decades of 20th century, discusses the role of a hidden word, silent music, stillness (ideas related to Mikhaylov’s concepts of “hidden word” and “silent music”). The works by Mikhaylov are a significant step in the direction of moving closer these two branches of humanities.

107-120

Authors: Monastyrshina Yuliya Aleksandrovna

Glenn Gould is one of the most controversial and original masters of piano with his unmistakable handwriting performing from the very first notes. To find the reason for such recognition, we will try in this paper dedicated to performing art of G. Gould. In it, we will examine the phenomenon of his interpretations in terms of the scope of performance tools, which is subordinated to the idea of all the interpretative rhetoric of the pianist. We will closely examine the specifics of the latter and to determine the basic “postulates,” such as the principle of reception with no analogues, the principle of expectation’s crash, when the pianist playing with listener’s perception, which works on the idea of “reopened text,” one of the avant-garde ideas which Gould professed, the principle of “an exaggerated image,” the principle of “different perspectives” namely: identification of additional semantic potential of the works by dint of “translucence” it through different articulation, ornamental, dynamic, texture and genre opticians, the principle of interpretation as a mechanism to connect to the process of hearing all the parameters of perception: sight, smell, touch, taste, the playing music as a research tool of work’s energy opportunities, etc. It should be noted that all the indicated interpretive principles of Gould’s “work” created a new quality of cooperation in the triad “composer-performer-listener”: the listeners are no longer those who only “consuming the ready interpretative product” but those who create. Unusual angle of vision of the usual arsenal of performance caused not so much by a desire to shock the audience, it is Gould’s thinking about the subject, of what interpretation is and what should the artist do. Experiments in the area of the listener’s perception have become the main ideological and aesthetic-philosophical core of the musician. Moreover, it is possible to talk about the Gould’s interpretive philosophy.

127-133

Authors: Tatarinova Aleksandra Dmitrievna

Ohuokhay is a circular dance of the Yakut people. This dance is mainly executed on a national holiday of New Year called the Ysyakh. This holiday is held during the Summer Solstice. This article considers publications of scholars and collectors of folk art in 1920-40s of the Soviet period, in which they published ethnographic and folklore data about the dance Ohuokhay. This period opened many new scientific ways. These are the first collectors’ of the Yakut folklore (S. Bolo, S. Novgorod, P. Timofeev, F. Kornilov, G. Ksenofontov, G. Ergis et al.) methods. The collections not only printed verbal texts (G. Vasilyev, Kh. Konstantinov, P. Timofeev), but also supplied them with music notes and comments (A. Scriabin, F. Kornilov). Moscow musicologists and composers begin to explore the Yakut folklore (D. Rogal-Levitskiy, V. Belyaev, N. Peyko and I. Shteyman). First philologists of the Yakut people published their works (D. Sivtsev, G. Ergis). From 1929 a stationary recording folklore of Yakut people begins in recording audio studios in St. Petersburg and Yakutsk (E. Gippius, Z. Evald). The second time in the history of folklore study, the audio recording is made in the field by the staff of the Moscow Conservatory (V. Malin, N. Bachinskaya, B. Smirnov). In the Soviet period, along with the ethnic term “iungkiuiu,” stated by the authors of the pre-revolutionary period, for the first time the word “oһuokhay” appears and is currently recognized as a circular dance called Yakuts. This fact allows us to consider the now existing circular dance oһuokhay in diachronic aspect and raises questions of historical and ethnographic character.

140-146

Authors: Korgozha Natalya Stepanovna

The article discusses the basic stages of formation and development of the scientific school of the famous Russian scientist in the field of socio-cultural activities, Honored Worker of Culture of Russia, doctor of pedagogical sciences, Professor Victor Vladimirovich Tuev. It presents a multi-faceted scientific and pedagogical activity of Viktor Vladimirovich Tuev, the founder of the department of social and cultural activity of the Kemerovo State University of Culture and the founder of Kemerovo Scientific School in 13.00.05 direction “Theory, methodology and organization of social and cultural activity”. We have presented the analysis of new conceptual approach to the study of history and theory of the club as the sociocommunicative institute of culture as a universal phenomenon of communication, known in the socio-cultural science as “the phenomenology of the club”. Considerable attention is paid to the analysis of the research by Professor Tuev in history, theory and methodology of social and cultural activities, the history of the first European and domestic clubs, the phenomenon of the English club as a genotype of club communication, and a holistic pedagogical concept of the club as a sociocommunicative institute of the world culture. We have analyzed the substantive content of monographic studies by V.V. Tuev “The phenomenon of the English club” (1997), which presents an invariant phenomenological model of the club, we have marked the mechanisms of organization and making club communication more dynamic in the historical and cultural contexts of social and cultural and public communications system. It defines the specific role of the scientific school of Professor Tuev in the creation of a theoretical framework of research into the history, theory and methodology of social and cultural activity, new conceptual approaches to the organization of practical activities in cultural institutions and professional training for the institutions of socio-cultural sphere. Substantiated scientific ideas are developed and presented by the doctor of pedagogical sciences, professor Tuev in monographic studies and scientific articles, which are currently still valid and remain relevant for today’s professionals in the field of socio-cultural activities have been founded in this article.

152-159

Authors: Vasilkovskaya Margarita Ivanovna

Each epoch requires active and purposeful work with the younger generation, especially when it comes to the education of the teenage children in respect to their own country, without which any state has no future. This respect can be achieved by creating an enabling environment in which young people would have a real practice of social relations. Here an important role is played by the teenage club associations, whose activities enable a natural occurrence in a system of open civil relations, which comes at the request of participants and where they can get answers to their questions of life, realize their creative interests and abilities. Professor V. Tuev in his work “The Technology Organization Proactive Club” offers a glimpse into the “Oxford English Dictionary”. In the first ten editions in the 1884–1928 period, in a very succinct article of “The Club” content is a top 10 most commonly used meanings of the term, established in the public mind to the beginning of the 10th century. Here is how these values are interpreted the concept of “The Club” in the “Oxford Dictionary”. In order to form a free, creative, socially active person of the teenager, we developed the program “School Project Managers”, which is recommended for the development of creative and organizational abilities in children of teenage age in the club pool. “School project managers” is a comprehensive program, which includes elements of the Russian program of Navigators / Scouts Association, to teach social engineering, civilized dialogue, collective creativity and cultural and leisure activities, as well as active recreation and health of adolescents. The program “School Project Managers” has given a lot of time for socio-psychological training leader in the education, the use of which allows you to extend the range of humanistically oriented way to achieve educational goals.

166-175

Authors: Yudina Anna Ivanovna, Mukhamedieva Svetlana Anatolyevna, Rodionova Darya Dmitrievna, Taranenko Lyubov Gennadievna, Klyuev Yuriy Vladimirovich

In the scientific article, the authors consider the problem of socio-cultural estimate of activities in cultural institutions. The results of the expert survey on research and development of applied aspects of the socio-cultural projection. The experiment. The experts were the heads of club-type institutions, libraries and museums in Kemerovo region. The authors conclude: it is required to develop rules of procedure of the process of estimate in performance targets. Regulations allow cultural institutions to reach a new stage of development and meet the demand for socio-cultural services. The survey showed that the reasons for the lack of demand for service clubs, libraries and museums related to the problems of people. In human desire to visit cultural institutions it depends on the needs of self-development, enrichment of cultural values, and intrinsic motivation. It is concluded that one of the objectives of these organizations will be to stimulate consumer demand for welfare services. The result of the study was to develop an algorithm of socio-cultural estimate of activities in cultural institutions. The use of the algorithm may be the primary mechanism for the determination of the planned indicators of socio-cultural activities in organization of culture and the achievement which will improve the quality of services. The implementation of the process of socio-cultural development of forecasting in the form of socio-cultural outlook, as the basis for planning the activities of cultural institutions will build funding system focused on results.

176-179

Authors: Basalaeva Oksana Gennadyevna, Lukina Nelli Petrovna

The information civilization’s high technology has greatly contributed to the making of a new sociocultural reality. The new civilization has transformed spiritual life, metaphysics, as well as politics, science, art, and ideology. These changes need a careful consideration and a critical philosophical reflection to conduct an in-depth analysis of the latest technology in the light of the current worldview, current set of socio-cultural norms and axiological aspects of modern life. The socio-cultural analysis is supposed to establish the directions in which modern society is moving alongside the aims. The research essence of the undertaken analysis is to offer an explanation of how advances in technology influence social phenomena. We also endeavour to make the case for the insufficiency of technocratic approaches alone to understanding the nature of the information society. The technological structure denotes a result of technological mutations that make a revolutionary impact on the socio-cultural environment, reshaping labour relations, communication, management and culture. The modern technological structure in question presumes the omnipotence of the latest technology in all areas of life, with its proponents demonstrating the commitment to the mythological rhetoric of the break on the assumption that the latest technology will change the world and culture irreversibly. The main directions of modern technological structure focused on biotechnology, nanotechnology, artificial intelligence systems, integrated social and humanitarian technologies, global information networks. Anyone can consciously assimilate the methodology and techniques for working with both, individual computers and work on the Internet, that is, the user has methodically equipped professionally and methodologically. In socio-cultural attitudes, the methodological field is discrete. This is reflected in the fact that in the methodological field, there is practically no cultural technology, to substitute notions of socio-cultural technologies, reducible to leisure technologies, which connect the conceptual vision of culture with cultural practices and cultural subjects. Perhaps for this reason that the culture component is not expressed in NBICS concept. This fact is the main problem in the field of a relationship between the modern technological structure and culture.

188-193

Authors: Slautina Nadezhda Mikhaylovna

At the present stage of development of the Russian society and education system in the conditions of market relations, competition, including the education market, there is a need in the formation of university students’ necessary qualities to survive in difficult socio-economic conditions, training the competitive staff to find suitable niche for their future careers. The graduates must not only fully possess professional knowledge and skills and have a certain baggage of personal qualities, but also to be active marketing-oriented subjects. The economic conditions of society development have specific requirements for professionals in any industry and are aimed at the formation of a highly competent employee who is able to mobilize the personal potential solving the professional problems. To do this, one must have not only the skills of research, but also in accordance with that position themselves in the market space for effective interaction in personal, social and professional spheres. In connection with this problem of forming the updated marketing competence of university students, promoting learning, creativity and meeting the differentiated educational needs of an individual. Professional competence of admissible students is regarded as an exceptional fact of modern socio-cultural educational environment. This fact directly influences the formation of professional competence of a student. It should be borne in mind that the process of formation of professional competence occurs at theoretical, methodological and practical level. The relationship of these levels can be traced to the readiness of students to professional practice. Social and economic development of society and information conditions contribute to the revision of relations to knowledge. From knowledge, abilities and skills to knowledge management, which are transformed into competence. These conditions are reflected in the character of professional activities requiring not only professional mobility and flexibility, but also to stable-continuous improvement of the level of marketing expertise. Due to the prevailing socio-economic conditions, the interest in professional and marketing competence of students increased. In general, the approach to formation of professional competence of students of marketing may be considered as a purposeful change of substantial dimension in all orientations within existing educational space. However, given that the marketing of professional competence of students is based on the relationship of the received knowledge in the learning process, one must use specific pedagogical technologies that contribute to the development of professionally significant personal qualities.

197-202

Authors: Chernyak Elena Fedorovna

Modern society is the transformation of social relations in a communication system. The article discusses the features of the communication activities of a university in the Internet space. Today, the platforms of search and rating systems, communication platforms, social networks, web sites, information portals unfold the competition in the market of educational services among the universities. These communication platforms, thanks to the richness, multidimensionality, interactivity and multimedia, allow a level of real virtuality to address many of the challenges for the school. Kemerovo State University of Culture is presented in the web-environment via the following communication channels: the official website of the University automated information system “Single Information Space in the Sphere of Culture” (AIS EIPSC), Instagram, social networks, information portals, websites, media (television, radio and Newspapers), etc. The author focuses on such web resource as the official website of the University, immediacy and interactivity which is undeniable. It became a relevant tool for the educational, scientific, creative and economic activities in higher education. Its news and feature systems contribute to effective achievement of positive public publicity. For 2015-2016, a total number of visitors came to 452 408 people. The University actively carries out activities in an automated information system “Single Information Space in the Sphere of Culture” (AIS EIPSC), which is regulated by a number of official documents. It develops the new methods to attract consumers, finds the right and interesting people, to establish and maintain communication with them, to expand their social circle, encouraging their professional and creative development access the social network. The article presents the technology of work with official groups of the University that provides a steady demand for creative and educational services, establishes strong partnerships that lead to higher importance of University projects.

210-220

Authors: Borzdun Vadim Nikolaevich, Grigorenko Natalya Nikolaevna

The article highlights the innovation on organizing pedagogical practice for the students of creative specialties, consisting of a full-time week immersion into the project method, including the project portfolio development which was implemented by the students during the practice. The necessity and possibility for applying the project methods within the competence approach for organizing and carrying out the students’ pedagogical practice is considered in the article. The authors provide the analysis for all stages of implementing educational projects during the students’ practice, including pedagogical evaluation and reflection. Also the specificity of organizing and conducting the pedagogical practice at the higher educational institution of culture is proved. The authors actualize the necessity and possibility of using information and communication technologies and interactive teaching methods for preparing and conducting pedagogical practice of the students. On the example of the competencies defined by pedagogical activity in the Federal State Educational Standards on the training direction 51.03.02 “Folk Art Culture”, the authors review the students’ project portfolio development for further implementing on the basis of practices. The article presents the problems solving within organizing and conducting pedagogical practice using the method of projects both by the students and the teachers (tutors). The features of tutor approach in the modern practice of teaching art and creative disciplines (for general, additional and vocational education) are defined. The authors presented the possibility for educational evaluation (objective and subjective) of the projects implemented both by the pupils and the students doing pedagogical practice, assessment of the heads of practice, and also the results and students’ attitude to implementing the project methods for their pedagogical activity.