Vestnik KemGUKI

21-26

Authors: Morozov Nikolay Mikhaylovich

The attention to a subject is caused by lack of the special researches devoted to the culturological analysis of a condition of the polyconfessional environment including institutes of all world religions which were present at the territory of the Kuznetsk region during the post-reform period important for understanding of sources of transformation of the spiritual sphere which happened at the following stage – constructions of industrial base in Kuzbass. Time is determined, the emergence reasons in Mariinsky and Kuznetsk districts of Catholics and conditions of forming of Catholic receipts are considered. The policy of local authorities for the organization of Catholic receipts and activities of priests is considered. It is shown how habitual religious values were projected on the new environment. Channels of penetration of representatives of a Judaic community on the territory of the Mariinsky district are revealed, their number and geography of houses of worship is established. Features of religious life of Jews and their limited opportunities in respect for religious traditions are considered. The active role of representatives of a Judaic community in cultural and economic life of Mariinsk and its district is shown. The geography of resettlement of representatives of a Muslim community in the territory of the Kuznetsk region is determined. On the basis of completeness of coordination of behavior of Sharia, devout with laws, two groups of believers are allocated: Muslims of the North of Kuzbass (Tatars) as more consecutive adherents of religious traditions, and kalmak at which the ceremonial culture, new to them, was combined with habitual elements of paganism.

33-45

Authors: Markov Aleksander Petrovich

The article describes the global problems of the modern world to testify to the inevitability of a radical turn to new forms and models of civilizational development, contains an analysis of the mechanisms for changing cultural-anthropological matrices. The exhaustion of the energies of the Christian Logos, the loss of the anthropological mission of the Word considered as a key indicator of the crisis of European civilization. The key faults of European civilization make the most obvious variant of the future return of the Pagan era of human history – the “culture of the priests” – which is fundamentally different from the world cultures formed on the basis of the texts of the Old and New Testaments. Today the main cultural and anthropological problems of European civilization stem from its transitional nature and incompleteness of a cultural type, in the “body” of which the struggle between two anthropological dominants is increasing: classical and pagan. Their irreconcilable dichotomy is revealed in the mental sphere, where there is a struggle between archaic consciousness and logocentrism, in the system of humanitarian knowledge, in life strategies. This struggle is especially acute at the stage of the entry of Western culture into postmodernism, which marks the transition from the “Promethean” to the “Orphic” model. The transformation of European culture into a postmodern phase, that actively rejects the humanistic values of the Christianity and Enlightenment, becomes a condition for the expansion of paganism, deforming the key attributes of the existence of man and society.

53-58

Authors: Guk Aleksey Aleksandrovich

The problem of vision for reflection on photography is one of the most important nowadays. The aim of the study is to identify factors that contribute to the formation of photographic vision, as well as the designation of its specific characteristics. It is emphasized that, generally photographic vision is an activity that uses photo technology to display and interpret the visible reality. Sketch literature, traditional painting, own development of photo technology has influenced photographic vision, which is characterized by the mechanistic process of getting the image, its mirror sites properties. Communicative needs of the society also provided determination of photographic vision, expanding and deepening the visual picture of the world. The author develops his own way in interpreting the ontology of the photographic vision, which is characterized by: visual aestheticization of reality, granularity of display, intensity and novelty of the representation, instantaneous resulting actions. Overall, photographic vision reproduces not just the objective world mechanically but shows its perception and interpretation using the camera. Based on the specifics of photographic vision final definition as a process of displaying a visible reality, which is characterized by its aestheticization, a fractional view showing the intensity and novelty of the author’s opinion, as well as the image of a fleeting moment is presented.

62-66

Authors: Martynov Anatoliy Ivanovich, Abrosimova Yuliya Andreevna

The article is devoted to the results of a preliminary study of the state of museification and use of immovable objects of historical and cultural heritage located on the territories of rural areas of Siberia. It provides a typology of immovable monuments, points out the features of the monuments of Siberia, a large concentration of immovable heritage monuments in the regions, republics and regions of Southern Siberia. The authors come to a conclusion about the low level of museufication and the modern use of monuments of the historical and cultural heritage of Siberia, which adversely affects the development of regional tourism, and the formation of knowledge about the historical and cultural values of Siberia. The article contains some suggestions on the museufication of monuments of the unique heritage of the archaeological past, historical sites and preserved objects of the period of the beginning of development of territories in the 17-18th centuries, and numerous settlements that arose in the 19th and early 20th centuries, as a result of the Stolypin reform.

75-80

Authors: Bezrukova Ekaterina Aleksandrovna

This article reviews how the main function of the museum as a storage, study and presentation of historical, cultural and natural objects can be accomplished today. A modern museum cannot be just a repository of artifacts; it must interact with the inner world of the visitor, influencing his emotional perception, involving the historical environment through activation of the imagination complemented by elements of the associative series. Thus, the museum becomes not only a place of knowledge but also a cultural and leisure event in the organization of free time for visitors. Quoting the statements of various authors about museum activities, the author concludes that in most cases the presented exposition should have a different level of perception by the viewer, from a purely visual monologue to an equitable dialogue. In this case, the artistic component of the exposition comes to the basis, reveals the role of the designer, following the principles of artistic design, discovers the historical, cultural and scientific field of museum activity. Considering the historical aspect of creating a museum exposition, the author concludes that the artist only created the visual series in which the exhibited object was located. Now the basis is the creation of a common overflowing scripted construction of the exposure, involving the viewer and causing him reciprocal positive emotions. Thus, the museum exhibit cannot be simply decorated with pictorial elements by theatricalizing the space and time of action in which the public person is located. Now in the museum exposition, there are not only receptions of the fine art, design of architectural elements, but also musical and color-light support, and also achievements of technological progress and multimedia computer technologies. Creating the concept of design-exposition, the designer realizes that the museum is an architectural space, and how this space will be an organized way depends on the success of his work, so the scope of his activity includes the environmental design of the territory adjacent to the museum. Nevertheless, the designer, creating the exposition, constantly works with the museum staff, understanding the need for a thorough and comprehensive knowledge of the presented topic. The role of the designer in the modern museum exposition is in the art of organizing a special program environment filling it with an artistically expressive context and providing functional and utilitarian requirements. museum design, exposition design, image, visual series, architectural and artistic solution, concept, script of work, museum ensemble.

87-96

Authors: Konovalov Aleksandr Borisovich

The article is devoted to the issues of expression of regional interests in the sphere of culture by party leadership of regions of Western Siberia. On the basis of a wide range of archival documents it explains the mechanism of relations between central and the regional party-state nomenclature in the social and cultural sphere. The author used the latest results of theoretical studies on cultural requirements, noting the need for their consideration in the context of socio-economic conditions, political situation, subjective perceptions of the functionaries of the public administration. The author studied role of the first secretaries of the regional committees of the CPSU in the formation of cultural needs of the West-Siberian regions. The author analyzes the specifics of social changes in the regions of Western Siberia and notes the growing disproportions in the system of material and consumer provision of various population groups. It is given the facts of privileges in the system of ensuring the cultural needs of the party nomenclature. It is shown the low level of providing families of servicemen. Specific examples shows representations of the party leadership of regions on the development of sociocultural sphere (improving the status of the Novosibirsk theatre of Opera and ballet, the struggle for the opening of the Novosibirsk state Conservatory, initiatives for retaining qualified personnel in the regions of Western Siberia). It is identified forms of impact on the Central party and departmental authorities (preparation of draft decisions of the Union government, requesting several addresses, using personal contacts of the first secretaries of regional party committees with ministers). The article has conclusion about the contradiction in the positions between regional and departmental management in the goals, resource potential and probable consequences of the population´s cultural needs of Western Siberia.

103-108

Authors: Sabelev Mikhail Mikhaylovich

The attention of the article is devoted to the problem of cultural code as the main element of works of the musical and theatrical stage. In the article the main researchers referring to the concept of cultural code are indicated. The author formulates the thesis of the correspondence of the cultural code of the time of its creation. On the example of the play “Corrupt Love”, the arguments are given in favor of the cultural code as the basis of a musical performance. There are examples of well-known works of the music scene, whose plot and musical component contain elements of cultural code. The plot and musical component of some famous works, including the musical performance “Corrupt Love”, staged by the Musical Theater of Kuzbass, is analyzed. The author refers to the history of origin of the genre of the operetta. Based on examples of works of classical Viennese operetta of the early XX century, analogies are being drawn between social and political events that served as a material for the creation of both classical and contemporary works. As the scientific literature, historical literature was used, as well as some culturological materials devoted to this problem. The content of the play and its stage interpretation considered from the point of view of the presence of elements of the cultural code, read by the viewer and interpreted by him. The proofs of the musical story basis of the performances as a socio-cultural code are formulated. In the conclusion of the article, a demonstrative correspondence is made to the above theses.

113-118

Authors: Dvurechenskaya Anastasiya Sergeevna, Yakovleva Darya Evgenyevna

In the modern era of global communications, when new opportunities of interethnic and intercultural interaction and exchange become significant, there is a threat to the preservation of national and cultural values. Concern for the preservation of national culture is an alternative to the unification of cultural differences in the course of globalization. The development objectives of the national spiritual, linguistic and mental environment, cultural traditions are particularly relevant today. Understanding the processes of modern Russian reality is impossible without understanding the content of “values,” “national values,” and “cultural values” concepts. Despite the presence of a significant number of papers on axiological issues, many questions concerning the definitions of “national values” and “cultural values” in their philosophical culturological and applied aspects still require in-depth study and elaboration. This article presents different interpretations of the “value,” “cultural value,” “national treasure” concepts from the point of view of axiological approach. It proves that the concepts of “cultural value” and “national treasure” have a common socio-cultural nature but different substantive emphases. Being in fact and in other case social regulators, national values provide ideological stability and identity of a particular ethnic group or nation, whereas cultural values are universal, common human nature and cannot be associated directly with a particular area or community.

124-130

Authors: Efimova Olga Nikolaevna, Grigoryeva Nina Vladimirovna, Samsonova Alevtina Nikolaevna

Tolerance is seen as a contradictory and controversial phenomenon that requires further analysis in its study. In this article, “tolerance” is considered as a phenomenon arising in the conditions of cultures diversity existence against the backdrop of a common society unification. Tolerance is revealed as a process that does not reduce social contradictions, but explains the reasons for their occurrence. Tolerance is rather a forced behavior based on unintentional acceptance of others, rejection of assessments, passive, indifferent attitude to otherness. While sociocultural identity contributes to an active understanding of the fact that different peoples unite different traditions and rituals (this is the creativity and originality of peoples), but all of them consolidate common values (love for the homeland, for the mother, for the native land). Awareness of the importance of belonging to any people, clan, and family gives a person a sense of security, completeness and self-sufficiency. In such a perception, the self-sufficiency of one people acts as a perception measure of another people’s selfsufficiency. In modern conditions of assimilation and continuous loss of knowledge, centuries-old experience of development of each nationality, revealing the mechanisms of cultural society functioning, tolerance becomes a normal protective reaction of the psyche to the society that has lost its culture of organizing the distinctive way of living of each nationality that gave birth to the society in which it is necessary to develop tolerant attitude.

140-145

Authors: Basalaeva Oksana Gennadyevna

New discoveries in the field of science, technology and information technology over the past decade were assimilated by society with the aim of uncovering high scientific, technical, cultural and creative potential. Modern man, “thrown” into the world, founded by information technologies – the world of digital culture – is faced with the socio-cultural problem of the interconnection between the technological construction of artificial existence and the aesthetic expression of human in it. The need to reflect on this problem is emphasized by the traductive conclusions about how much the role of natural intelligence is important in traditional culture as the ability to feel, reason rationally and intelligently regulate actions, so much in the digital culture is the role of artificial intelligence that realizes such functions. In the modern socio-cultural clusters, elements of digital and traditional culture are closely intertwined. In the environment of information technology and electronic communications, the ideals of artistic culture are perceived differently. Canons of programmable rationality and more complex to universal culture, the more intense are the phenomena of digital culture replace the static archetypes of traditional culture. In addition, it should be noted, that there is intellectual culture in society that should be understood as a specific activity in culture. Intellectual culture captures to some extent the artificial nature of human thinking. It should be recognized that all existing artificial intelligence programs have one major drawback: they cannot adapt themselves to the world around, as all living beings do. Moreover, scientists raise the problem of qualitative transformation of the nature of the creative process. For example, in Japan, androids are actively created, not only resembling people in appearance, but also capable of participating as actors in performances. This fact constitutes the main problematic field of interrelation between the intellectual culture, artificial intelligence and creative process.

153-158

Authors: Gavrilova Lyudmila Vladimirovna

The article deals with some interesting and unknown facts from the biography of Ivan Shpiller, conductor of the Krasnoyarsk Academic Symphony Orchestra, People’s Artist of Russia, and his family, revealing the relationship with the personality and music career of composer Sergei Vasilyevich Rachmaninov. The author’s turning to a number of documentary sources made it possible to reveal the specific circumstances of seeming “accidental” intersections and meetings with the composer throughout their lives and music careers beginning with the conductor’s father Vladimir Dmitrievich Shpiller (f. Vsevolod) and his parents. The author emphasizes that the memories of famous singer Natalia Shpiller arouse great interest. They say about both Sergei Knushevitsky, a brilliant cellist, and Alexander Gauk, an outstanding conductor, whose music careers also intersect with Sergei Rachmaninov’s world of music. All this played a decisive role in the formation of the creative character of conductor Ivan Vsevolodovich Shpiller and his creative priorities. In 1978 he became the conductor of the Symphony orchestra which had been formed in Krasnoyarsk. All Sergei Rachmaninoff ’s symphonic works were performed in the concerts in the first seasons. According to Spiller’s words, it was the music of this Russian composer to which he wrote a book of memoirs about his father, a priest of the Russian Orthodox Church. A special page in the history of “accidental” meetings is connected with the First Symphony of Rachmaninov. Its score had been restored and donated to I. V. Shpiller by his teacher A. V. Gauk. This Symphony became a kind of hallmark of the Krasnoyarsk Academic Symphony orchestra during all its tours in Moscow, Leningrad (St. Petersburg), Switzerland. Holland, Yugoslavia. Interpretations of the Russian composer’s symphonic works performed by the orchestra under the baton of Ivan Spiller are considered to be among the best ones in domestic practice.

169-178

Authors: Predvechnova Ekaterina Olegovna

The article considers the specificity of art-musical thinking of the composer in the context of the culture of the Silver age and the concept of the Sonata e-moll op. 25 No. 2 “Night wind.” Identified common philosophical and aesthetic views of N.K. Medtner and F.I. Tyutchev, defining the existential content and semantics of the poetic program of Sonata. The relevance of the semantic analysis method of the Sonata is due to the multifaceted polyphonic content, original interpretation of the composition, complex dramaturgy of development of symbolic images. For the first time, it presents a semantic analysis of the composition of the sonata “Night wind” at three levels: conceptual, thematic and logical. The features invariant of the genre of the Sonata, extramusical and intramusical semantics expressed in the content of symbolic images of Time and Space, of Chaos and Order. N.K. Medtner analyzed the stable and mobile components of musical thinking, contextual and intertextual semantic relationships of the symbolic spheres that organize the logic of musical content and philosophical poetry program of the Sonata. N.K. Medtner disclosed the features of musical thinking, such as dialogic, synthetic, symphonic, poem, binary, which are the main components of the logical semantic structure and dramatic development of symbolic images of Time and Space in Sonata e-moll op. 25 No. 2.

193-196

Authors: Efremenko Oksana Sergeevna

The article analyzes the impact of the concept of theatrical symbolism of M. Maeterlinck on the formation of a creative method of V. Kandinsky. The Russian artist fully shared the views of M. Maeterlinck that art should not be representative, and is obliged to transmit internal, metaphysical truth of man’s relationship with the world, to be symbolic. In this concern the article puts a question of the spectators’ new borders of perception. The audience is supposed to understand associations and emphasized unpresentable images. The author drives to the conclusion that on the basis of Maeterlinck’s static theatre, there appears a “relative” approach, and as a result, there appeared the necessity of the presence of a new type of stage artist, in the structure of the play. On the basis of the analysis of theoretical ideas of Belgian playwright, the authors describe their rejecting the traditional understanding of drama action. All the examples of classical dramatism lie in the sphere of external for this author, meanwhile the accent is put on the “second order dialogue” or so called “underwater stream”. Multilevel relations between the text, implication and uptext make special flexible structure of their plays. The author of the article found that V. Kandinsky’s experiments continued implementation of new meanings in the field of fine arts. Influence of theatrical symbolism of M. Maeterlinck expressed in concrete works of V. Kandinsky and forms of creativity on several levels: a) at the level citations and allusions in the iconography, color palette and in the content of motives paintings; b) at the concept stage of the composition. Therefore, the method of theatrical symbolism, based on styling, organically joined the work of Russian abstract artist V. Kandinsky.

215-225

Authors: Li Yue

The article deals with the main events of the history of the Chinese pedagogical musical education, looking through which is very actual, as it helps to find out the stages of its making up and development, each with its peculiarities, that can explain the situation in our days. Based on studying the Chinese sources, a contextual analysis of the landmarks in the progress of the musical education in China is made. The first partition deals with the processes in the traditional musical education of Ancient China. In the second partition, tendencies characteristic to Middle Ages are exposed. Then the question is about the influence in the New Times of the European music on the traditional Chinese music and how it had mirrored in the development of the Chinese pedagogical musical education. In each epoch, there are marked: a situation with the processes in musical education, main educative institutions of the time, their types and how the teaching-upbringing process is organized; interactions between the musical education and the state, and main tendencies in the development of the musical education. As a result, a view is formed giving impression of the history, rich in events, as well as traditions in the educative sphere. There are conclusions made by the author on the character of the development of musical education in China and on its influence on the processes going in the educative sphere in the whole.

231-236

Authors: Medovikova Evgeniya Aleksandrovna, Morodenko Evgeniya Vasilyevna, Yemets Elena Viktorovna

This paper reviews the issue of forming the substantial characteristics of individual typological traits of the practice-oriented higher education system students at the university in case of Kuzbass State Technical University named after T.F. Gorbachev in Prokopievsk branch. The system of practice-oriented learning is one of the promising psychological and pedagogical technologies of the organization of the educational process, which involves parallel training in an educational institution and in production [4]. Nevertheless, the modern system of education requires from the individual students not only profile training within the subject field, but also the availability of psychological knowledge and skills that allow new personnel to prepare for real life, to compete in the labor market [6]. The research represents results of the comparative analysis of the parameters: conscious self-regulation, life-purpose personal orientation, person`s alertness, conflict situations behavior strategy, motivation. The result of the research is the development and implementation of a program of psychological and pedagogical support for students at the initial stage of education.