Vestnik KemGUKI

5

Authors: Bai Ge, Postgraduate, Institute of Music, Theater and Choreography, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation). E-mail: 765216825@qq.com

Relevance. The Karl Orff Theater has become a very significant phenomenon in the culture of the 20th century. The study of Orff’s operatic work is of great methodological interest, since it shows the influence of theatrical directing on the musical sphere. The purpose of the study is to determine the points of intersection of Karl Orff’s stage approach and the trends in the development of the European theater of the 20th century. Results. Orff’s music is close to the postulates of Bertold Brecht’s epic theater, which are combined with conventional techniques. Meanwhile, Orff’s approach is original, the composer freely interprets trends in directing on the basis of combining the music and stage action. Orff’s musical-stage approach contains many prerequisites for the coming postmodern era. Accessibility, mass character, lack of hierarchy and reliance on authority, conventionality of characters and a number of other features of the composer’s works form the origins of postmodernist views on art. A clear example of Orff’s creative method is the opera Clever Girl, built in the image of a parable and conveys the author’s view of reality. Conclusions. Orff’s operatic work reflects a number of trends characteristic of the development of European theater. The basis was the aesthetics of the German singspiel, which caused the proximity of Orff’s works to the city theater. At the same time, Orff uses the techniques of conventional theater and Brecht’s epic theater, which reflected the movement of European art to the postmodern era.

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Authors: Rodionova Darya Dmitrievna, PhD in Philosophy, Associate Professor, Department Chair of Museum Sciences, Kemerovo State University of Culture (Kemerovo, Russian Federation). Email: kafedramd@ yandex.ru Vykhodtsev Erik Petrovich, Chief Specialist of the Educational Department, Museum of Fine Arts of Kuzbass (Kemerovo, Russian Federation). Email: cavalieriwe@gmail.com

The paper provides an overview of the state of the sites of art museums in the regions of Siberia on the Internet, and also monitors the state of the official site of the museum. The authors made an attempt to define the concept of information image of the museum. As part of the study, recommendations were developed for improving the information image of an art museum, including: group design, information about the museum, a fixed record, materials from museum collections, and publications. The best examples of using the site to increase user activity are given. It is substantiated that the official website is an integral part of museum activities aimed at improving the work of a modern museum. After analyzing the regulatory documents, the authors focus on those parameters that are mandatory for the museum site. At the same time, it was revealed that not all museums rely on them when creating and maintaining the official website of the institution on the Internet. However, the authors believe that the presented recommendations work if the museum follows them when creating and maintaining an official representation on the Internet. Summing up, it is stated that based on modern recommendations of specialists and regulatory documents, the content of a modern site makes it possible to create your own recognizable information image, aimed primarily at attracting visitors to the museum.

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Authors: avydova Anastasiya Aleksandrovna, Postgraduate of Department of Pedagogy, Psychology and Physical Education, Instructor of Department of Folk Dance, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: davidova_nastya@mail.ru

The effectiveness of practical training, as one of the forms of professional training of choreographer students in the learning process, is currently an urgent problem for research, since improving the quality of education and the level of professional readiness of future specialists is currently one of the important tasks in the preparation of a competent specialist. The main purpose of this article is to determine the essential characteristics of the concept of practical training of choreographer students in the system of higher professional education. The article analyzes the positions of scientists on the problems of practical training in the system of higher professional education and the component basis of this phenomenon, which together constitutes its essential characteristic. The professional roles and tasks of students-choreographers influencing the orientation of their practical training are determined. The methods of analysis, comparison and generalization of scientific psychological and pedagogical literature were used in the work, which allowed us to give our own understanding of this process and characterize the component basis of practical training of choreographer students, including motivational, cognitive, activity, communicative and reflexive components. The article focuses on the readiness for practical activity (competence) as a result of the practical training of choreographers in the higher education system.

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Authors: Gao Jing, Postgraduate of Department of Theory and Practice of Foreign Languages, Institute of Foreign Languages, RUDN University (Moscow, Russian Federation). E-mail: 2303214258@163.com

The article deals with topical issues of the selection of materials for teaching the Chinese language, taking into account linguistic and cultural pictures of the world. Learning Chinese presents certain difficulties. The article discusses these factors and ways to overcome them. The main difference between language bases is the construction of language forms. In case of the Chinese language, there is no universal constructor, an alphabet, for constructing language constructions characteristic to the Russian language. The hieroglyphic construction of the language ambiguously represents each concept, for example, a specific hieroglyph can mean different meanings in different situations. Pronunciation also influences the meaning of words. The selection of certain sounds can completely change the meaning of a word. All this has a significant impact on his perception and ability to learn. Chinese cannot be studied in isolation from Chinese culture. There are differences and similarities in the linguistic and cultural worldviews of Russian and Chinese schoolchildren. The article discusses the criteria and an overview of the selection of materials taking into account these features. Modern approaches in education move away from memorizing individual words and expressions, and focus on comparing similar cultural phenomena in Russian and Chinese. Such approaches are focused on the selection and use of suitable educational materials. These are primarily audio and video materials, folklore works, etc. The article discusses various types of educational materials and the practice of their application.

7

Authors: Popova Natalya Sergeevna, PhD in Art History, Associate Professor of Department Culturology, Philosophy and Art History, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: bublikova2007@yandex.ru

The article examines the practice of appealing to abstraction in the works of Russian artists of the 1970s–1980s. Based on the creation of the Novokuznetsk artist Alexander Suslov, the author defines the strategy of using abstraction methods in arts. Relying on the opinion of domestic researchers, the author of the article describes the difference in the attitude to abstraction of Russian artists of different generations. In the process of comparison, it was emphasised that the attitude to the abstraction in the works of artists of the 1970s–1980s has changed. The representatives of the Russian avant-garde saw the abstract creations as the art of the future. Artists of the 1950s–1960s turned to objectlessness as a gesture of protest against ideological tenets and strove to maintain continuity of Russian art of the 20th century. The artists of the 1970s–1980s realized that abstraction had already found its formal expression in the history of art. The author characterized the methods of formal solution of the abstract image in graphic creations of A.V. Suslov. As a result of research, it was revealed that Suslov’s irrelevance acts as an integral, historically accepted system that has several connotations. In the graphic creations of A.V. Suslov, abstraction serves as a tool for creating a cosmological image of the archaic world. In the works of A.V. Suslov and artists of his generation, the opposition of the realistic /non-objective is removed, and there is also a rejection of the protest value in the use of the language of abstraction. Combining the objective and the non-objective into a composite, as well as endowing an abstract image with concrete figurative meanings, A.V. Suslov reached a supra-historical vision of his works. The research used an integrated approach relying on the description of the work. In the analytical part of the method, the author considered the composition as a structure and made a generalization about the connection between form and content, taking into account the subjective motivation of the author to embody the intended image. The research methodology is based on the principle of integrity, approved by the structuralist philosophers R. Barth and K. Levi-Strauss, as well as R. Barth’s post-structuralist ideas about the unstructured parts of a work of art.

8

Authors: Ermolaev Vladimir Aleksandrovich, Dr of Technical Sciences, Associate Professor, Professor of Department of Biotechnology and Food Production, Kuzbass State Agricultural Academy (Kemerovo, Russian Federation). E-mail: ermolaevvla@rambler.ru

The article deals with the problem of hunger and the opposite state, satiety, as markers of social inequality. The author notes that hunger, a painful condition caused by chronic malnutrition, is not only a problem of modern society as there is a starving population in almost any country, somewhere to a greater and somewhere to a lesser extent. Accordingly, there is a population group that differs from the rest of the population and has unequal socio-economic opportunities with it, including in terms of nutrition. Analysis of poverty statistics has shown that in Russia the gap between the income strata of the population is increasing, but the number of hungry people is decreasing. Despite this, the stratification of society continues, 33 КУЛЬТУРОЛОГИЯ especially in the conditions of recovery from the restrictions imposed during the coronavirus pandemic and sanctions. Further theoretical analysis showed that the level of income determines whether a person belongs to a particular social group, poor or well-off people. Within these groups, transformations are constantly taking place, changing the culture of everyday life. Thus, the habit of people living in conditions of chronic malnutrition implies not only the consumption of simpler and lower-level food, but also the lack of etiquette, as a rule, unlike the food culture among wealthy people. In addition, the author noted that hunger as a condition can be specially reproduced (for a specific individual purpose) mainly by a group of wealthy people. And indeed, it is quite difficult to imagine that people suffering from nutritional deficiencies will specifically refuse it, if there is food, to achieve specific goals: weight loss or any other (not related to religious). Appetite is also an instrument of stratification of society and increasing inequality, which regulates the level of satiety and hunger in different ways among representatives of not only different groups, but also by gender. Summarizing the above, the author comes to the conclusion that hunger and satiety are markers of social inequality, representing a set of symbols and signs. Thus, these states can be distinguished not only by the composition of the menu, but also by the gastronomic discourse, by how representatives of various groups express their attitude to food and its process of its consumption.

8

Authors: Boldyreva Ekaterina Valentinovna, Director of Novosibirsk State Art Museum (Novosibirsk, Russian Federation). E-mail: ekaterinavboldyreva@yandex.ru

The relevance of the article is due to the increasing interest of the Russian cultural community in the history and traditions of the formation of cultural policy in historically difficult periods for the country, in Soviet times. The research interest is explained by the fact that the processes of formation of the socio-cultural sphere in Soviet times were new and did not have long state traditions. The interest of Siberian researchers of museums located in new Siberian cities is determined by the complexity of the formation of museum collections, the absence of obvious objects on the territory. This is due to the youth of most Siberian cities, the lack of historical traditions of museum business and the organization of art galleries. Thus, the purpose of the article is to identify the main tasks and stages of the development of art museums in Soviet times. The author admits that the difficult historical period (Soviet times) does not allow for an unambiguous assessment of the methods of museum work and state management of cultural policy. However, it should be recognized that the results of cultural and educational work in Soviet times worked on the idea of forming the national identity of the Soviet people. We can state that this identity has not taken root properly. The centrifugal tendencies of the population and the authorities of the former Soviet republics in the field of economics and politics show destructive examples of national identity. At the same time, cultural ties with the CIS countries, cultural activities of the national diasporas of Siberian cities allow us to hope that the cultural ties established in Soviet times in museums, art galleries, theaters and libraries will not only restore friendship between the CIS countries, but also form new foundations for the national identity of the multinational population of Siberia.

8

Authors: Grigoryants Tatyana Aleksandrovna, PhD in Culturology, Professor, Professor of Department of Theatre Arts, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: tatyanagrigo rjants@yandex.ru

Fairy tales performances have their own characteristics, which are expressed at each level of incarnation. The choice of dramatic material depends on the age of the young public, on the specifics of child’s perception of art works. The form of the performance, its structural characteristics are directly dependent on the literary basis, the producer’s decision and the capabilities of the ensemble cast. Plastic and choreographic scenes in a fairy tale performance accomplish many functions and have their own specifics in organization (producer’s aspect) and direct realization (actor’s aspect). The body episodes represent an important part in the complex structure of the performance. They create the decor of the performance, but their main function is the birth of new, sometimes deeper, meanings. Analyzing some works performed in the fairy tale genre and constituting the repertoire of the Kuzbass Drama Theatre, we came to the conclusion that there are some characteristics that are revealed in all works. Firstly, the expressiveness of the plastic material in a performance-fairy tale largely depends on the professional plastic training of the actors. The staging specificity of fairy-tale material is determined by greater freedom in creating the scene pattern and use of plastic lexica, active use of tempo-rhythmic possibilities in organizing plastic scenes, use of multi-figures in creating plastic and choreographic scenes, working with simple plastic lexica, bright, voluminous embodiment and visualization of important events. In addition, the ability of plastic fragments to transform space and time of stage story is noted, as well as the interest of a producer of fairy tale performances in pantomimic ways of expressing.

8

Authors: Liu Yujie, Postgraduate of Department of Art History and Pedagogy of Art, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation). E-mail: presidentmusik@mail.ru

The article touches upon the problem of commemoration in the monumental art of China and Russia in the light of the current military-patriotic theme. The chronological boundaries of the study cover the period of the mid-twentieth century from the late 1940s to the 1950s. This period is associated with the active development of Soviet-Chinese friendship. The historical paths of both countries during the Second World War and in the post-war years had common features, which manifested itself in the similarity of the thematic focus, genre and stylistic solutions in sculpture. The publication highlights such important concepts for contemporary monumental art as commemoration and places of memory. The purpose of the study is to present a comparative analysis of the practice of commemoration in the monumental art of Russia and China. The material of the article is the monumental art of Russia and China as an example of the embodiment of the implementation of monumental commemorative practices. The methodology of the presented research is based on a set of scientific approaches necessary to disclose the problems of the article. An integrated approach is taken as a basis, including the principle of comparative analysis. Special attention is paid to the need for military-patriotic education as a powerful factor in consolidation of society, the revival of national identity, the formation of a sense of belonging to the great history of one country. Patriotic education in modern Russia deserves the closest attention and contributes to the strengthening of patriotic work in China. As the main conclusion, the article emphasizes that one of the main modern commemorative practices that are of key importance for patriotic education and the preservation of the memory of the historical past is the creation of memorials and monuments.

8

Authors: Shakhovalova Elena Gennadyevna, PhD in Pedagogy, Associate Professor of Department of Museology and Tourism, Altai State Institute of Culture (Barnaul, Russian Federation). E-mail: esh1001@mail.ru

The article discusses the experience of studying modern marketing communications by future museologists. In the conditions of practical activity, museum employees do not effectively use modern marketing communications in working with visitors, in promoting museum services, in implementing the development strategy of a museum institution. The purpose of the article is to reveal the key aspects of the formation of professional organizational and managerial competencies by analyzing the theoretical foundations, understanding the essence, content, functions, modern forms, methods, and means of marketing communications in museum activities. The key aspect in the technology of marketing communications to attract the target audience is the quality of service provision, which determines the choice of the museum by potential visitors, since it forms an image, the image of the museum in the consciousness of society. The image of the museum is formed with the help of modern creative forms of marketing communications: advertising, public relations, myth design and branding. Using the example of a number of museums in the Altai Territory, aspects of the creation and use of the brand by museum institutions are considered: Mir Vremeni (The World of Time), Mir Kamnia (The World of Stone), Gorod (The City), The Altai State Memorial Museum of G.S. Titova. The article examines the experience of museum institutions at the federal and regional levels in the use of modern marketing communications (Kizhi, Arkhangelsk Museum of Wooden Architecture Small Korels, Tomsk Pisanitsa, The Birth of fairy tales and Slavic Mythology, Biysk Museum of Local Lore named after V.V. Bianka, Altai State Museum of Local Lore). The study of modern theoretical and practical aspects of marketing communications will allow future museum specialists to professionally and systematically use approaches to the means of promoting museum services to the visitor, form marketing and communication plans, conduct marketing research, organize advertising activities of museums qualitatively, which determines the effectiveness of the development strategy of a modern museum.

9

Authors: Yarychev Nasrudi Uvaysovich, Dr of Pedagogical Sciences, Dr of Philosophical Sciences, Professor, Vicerector for Academic Affairs, Chechen State University (Grozny, Russian Federation). E-mail: Nasrudiny@ mail.ru

This article deals with the memory nodes of the Chechen people, events that have had the most significant and powerful influence on national identity, the specificity of self-determination, and the actual political, cultural value, and mental positioning of the Chechens. The term memory nodes was proposed by a group of researchers: M. Rotberg, D. Sanyala, and M. Silverman, to replace the concept of memory locations, which is already well-established and familiar but has recently been challenged by P. Nora. Unlike memory locations, memory nodes have a more concrete semantic content and therefore lend themselves to clearer verification. Memory nodes differ from ordinary historical events in the following fundamental points: 1) they have a defining meaning of national history, culture and identity; 2) they are actively included in the processes of memorialisation (memorial naming, research practice, commemorative events); 3) they are integrated into the current event space, influencing various political, social and other processes. In the course of the in-depth interview conducted by the author, and on the basis of analysis of the results of studies similar in purpose and content to those of other scholars, the nodes of Chechen memory were identified. These included the following events: 1. The adoption of Islam. 2. The Caucasian wars of the 19th century. 3. Deportation of the Chechen and Ingush peoples (1944) and their subsequent repatriation (1957). 4. Participation of the Chechen people in the Great Patriotic War. 5. Russian-Chechen wars in the 1990s. Separately, we note that in the context of this article we are not talking about the historical knowledge of contemporary Chechens, but about the event content of cultural memory. Historical knowledge is a set of concrete, objective (or aspiring to objectivity), derived from scientific sources, verified, relatively systematic ideas about the past. In contrast, the event content of cultural memory is a set of collective, valuable, emotionally coloured memories, which are usually represented in myth-symbolic forms, and their objectiveevent component is often merged with the facts of family or personal history. Historical knowledge is in the competence of history, the content of cultural memory is in the competence of allied humanities, primarily culturology and cultural anthropology.

9

Authors: Stepanova Elena Viktorovna, PhD in Art History, Associate Professor of Department of the History of Russian Music, Saint-Petersburg Rimsky-Korsakov State Conservatory (St. Petersburg, Russian Federation). E-mail: no_vikova@list.ru

P.I. Tchaikovsky’s Chamber ensembles are an important part of the history of Russian chamber music. One of the leading roles in the development of Russian chamber instrumental art of the late 19 – early 20 centuries and the spread of chamber music Tchaikovsky played in the St. Petersburg Chamber Music Society. Beginning with the 1873–1874 season, The Society regularly included the composer’s works in their programs. On September 21, 1886, Tchaikovsky was elected an honorary member of the St. Petersburg Chamber Music Society. This event served as an impetus for the creation of a new chamber composition. It was the String Sextet Memories of Florence, Tchaikovsky’s last chamber-instrumental ensemble. In 1891, the composer was invited to participate in the jury of a competition for composing the string quartet. This competition has become the largest in the history of the Society. Some materials related to the activities of the Chamber Music Society stayed unpublished. Some of the documents related to the dialogue Tchaikovsky – Chamber Music Society were not included in the Complete Works of the Composer. The materials presented in the article make it possible to expand information about the history of the development of the St. Petersburg Chamber Music Society, to highlight the main areas of interest of the association, and also to note the main stages of P.I. Tchaikovsky in the activities of the Society.

9

Authors: Budkeev Sergey Mikhaylovich, Dr of Arts History, Professor of Department of Arts, Altai State University (Barnaul, Russian Federation). E-mail: lwlm@yandex.ru Usanova Alla Leonidovna, Dr of Arts History, Professor of Department of Culturology and Design, Altai State University (Barnaul, Russian Federation). E-mail: alla_leo@mail.ru Prokhorov Sergey Anatolyevich, Dr of Arts History, Professor of Department of Fine Arts, Institute of Architecture and Design, Altai State University (Barnaul, Russian Federation). E-mail: prokh64@mail.ru

The article analyzes the early period of creativity of Altai artists of different generations, which coincided in time with the essential changes characteristic of Russian artistic culture from the 1960s to the 1980s. In the visual arts of remote regions, there was no obvious creative confrontation, in contrast to the metropolitan artistic environment with its diversity and a pronounced opposition of tradition and innovation. However, the period of the formation of a young creator (both in the capital and in the provinces) dictates an indispensable condition: the search for their own artistic language and style. Stylistic analysis of early works (F. Torkhov, I. Rudzite, Y.Bralgin, A. Potapov, L. Kulgacheva, V. Kvasov) allows us to draw a conclusion about the important role of the factor of creative freedom (the basic declaration of the avant-garde) at the stage of the formation of a young artist. In addition, in each generation, there is a distinct tendency towards a gradual expansion of the range of non-academic means of artistic expression, from generalizations and forms characteristics of traditional cultures, the use of linguistic symbols to non-traditional, insightful forms of folk art. These changes are directly related to the transformation of the evaluation criteria of a work of art in the middle of the 20th century. The figurative expressiveness of a work is gradually becoming the priority criterion for artistry, equalizing the rights of the realistic tradition and the avant-garde.

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Authors: Grigoryeva Elena Viktorovna, Sr Instructor of Department of Philosophy and Social Sciences, Kemerovo State University (Kemerovo, Russian Federation). E-mail: lgv-kem@list.ru

The article examines the peculiarities of forming the regulatory framework of state-church relations under the condition of the formation of a new Russian statehood in the late 20th century. The author gives an assessment of the constitutional consolidation of the principle of interaction between the state and the Russian Orthodox Church. A special emphasis is laid on the process of interaction between representatives of public authorities and the Russian Orthodox Church in the formation of the legal framework for state-church relations. The paper considers a key document in the system of interaction between public authorities and the Russian Orthodox Church Fundamentals of the Social Concept of the Russian Orthodox Church. As a result of the study, the author argues that the further formation of the pattern of state-church relations based on the principle of the secular state proclaimed by the Constitution of the Russian Federation is an urgent task for both public authorities and the Russian Orthodox Church. One of the most pressing issues is the further development of the process of interaction between the central authorities and the regional ones on issues of state-church relations including their regulatory framework. Given the rapid development of modern society, a crucial goal is to preserve and transfer fundamental norms and values that contribute to social continuity and cohesion. Religion and, in particular, Orthodoxy has been one of the sources of such values for Russian society throughout its history. In this regard, the participation of the Russian Orthodox Church in the life of Russian society is a very important task. At the same time, the 1993 Constitution proclaims the Russian Federation a secular state.

10

Authors: Xu Qidong, Postgraduate, Transbaikal State University (Chita, Russian Federation). E-mail: 1362119 4513@163.com

The article is devoted to cultural exchange in the field of art as an important part of the interaction between China and Russia. With the help of the study of special literature, the historical and modern aspects of the Chinese-Russian intercultural exchange of achievements in the field of art are considered. The material establishes that especially fruitful cooperation takes place in the field of art education and in the organization of exhibitions of works of art. The features of the Chinese-Russian cultural exchange, the influence of Russian, Soviet cultures on the development of oil painting in China, the work of Chinese artists of the XX-XXI centuries are revealed. Chinese oil painting has deep roots in Russian oil painting, with most Chinese artists of the 20th century educated in Soviet-style oil painting. In this regard, the most indicative is the work of Guo Shaogang, who was educated in the USSR in the field of oil painting. His works reflect stability and integrity, simplicity and sincerity of his feelings, devotion to life and art. Based on the data obtained, it was revealed that in the Sino-Russian exchange in the field of oil painting in the XX-XXI centuries, there are several main points: SinoRussian cooperation in the field of art education, a joint training program for students of Russian and Chinese universities in the field of art disciplines, an active organizing art exhibitions between China and Russia. The Russian system of education in the field of fine arts is the basis of Chinese art education.

21-26

Authors: Balabanov Pavel Ivanovich, Dr of Philosophical Sciences, Professor, Professor of Department of Philosophy, Law And Socio-political Disciplines, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: philosov416@kemguki.ru Zauervayn Larisa Teodorovna, PhD in Philosophy, Associate Professor, Assiciate Professor of Department of Directing Theatrical Performances and Festivals, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: sukhan.k@mail.ru

In this article, the specificity of the epistemological sphere of design is shown through the awareness of the following problem, namely: how knowledge from various spheres of culture and society is transformed into the sphere of design and how in this process new knowledge is acquired, which provides the needs of efficiency of project activities. The epistemological channels are represented by the presence of concepts and constructs that are formed and functioning in the field of design tools and procedures: a) pre-design study of social order; construction of an idealized object – an artifact that solves the problem situation as a designed object; materialization of an idealized object of an artifact in some material, energy or information structure, the result of which is the desired artifact, covered by the epistemological shell of the formed knowledge about this artifact, allowing to introduce scientific and project knowledge into the consciousness of the customer and consumer. Interaction of the subject of design, the customer, and the consumer act in the form of cultural dialogue, the internal space of which is the communicative space. The most important features of this communicative space are immanent dynamism, conceptuality (constructivism), interdisciplinarity, and discussion. The problem raised in this article focuses on such a feature of the communicative space as conceptuality, representing to a greater extent, the creative potential of design in comparison with its presence in other specified epistemological design procedures. The epistemological features of communication between the sphere of design and socio-cultural sphere determine the presence and use as cognitive working tools of theoretical and methodological work of the subject of designing the following: a project concept, a set of theoretical constructs of different degrees of generality and content, as well as praxiological programs that translate scientific and project theoretical knowledge into practice. The use of these epistemological means in their completeness determines the adequacy of the epistemological sphere of designing its existence and functioning in culture and society.

31-42

Authors: Voronova Irina Vitalyevna, PhD in Сulturology, Associate Professor of Department of Decorative Art, Kemerovo State University of Culture, Member of Union of Artists of Russia (Kemerovo, Russian Federation). E-mail: Irinanika1005@rambler.ru

This article is dedicated to the research of archetypes’ display in the modern culture through the prism of the professional visual art. The art that creates some images is a complex phenomenon, which encompasses some inherent components. It is a particular mind-set of a creator and a specific character of a spectator’s perception, which both provide a complicated multilevel communication. The rendering and perception of images is realized on the basis of a creator and a receiver background. The object of an article is to characterize that kind of cooperation and an interrelation of communication participants’ mind-sets in the modern art. The core of the object is connected with pieces of concept art specific structure reviewing, seeing that their figurative forms are of different nature in traditions and values. As far as the image in the visual art has a symbolic meaning, it is described in the article as a cultural pattern. It is usual to differentiate natural and cultural symbols, creator and receiver’s background components in such patterns. In the article, the display of these patterns in a visual art form is associated with the creator’s background transformation into a myth. Firstly, it is animism, which is described in the visual art through as neo-antiquity. Secondly, it is a language, which gives names to different ideas.The article concludes that images’ creating in the concept art is based on archetypes. These images constitute a part of visual art works’ complicated structure. On the one hand, the integration of such images in a creator’s work structure is realized as a background that transforms into a myth through evident features (“imagination-language”). On the other hand, the work structure can be formed as in a pattern “languageimagination”. In this case the main idea of an image and its form is implicit.

48-55

Authors: Popova Natalya Sergeevna, PhD in Art History, Associate Professor of Department of Culturology, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: bublikova2007@yandex.ru Popov Sergey Ivanovich, PhD in Philosophy, Associate Professor of Department of Humanities, Kemerovo Institute (Branch) of Plekhanov Russian University of Economics (Kemerovo, Russian Federation). E-mail: bende-ostap@yandex.ru

The article investigates the cultural and humanistic meaning of man’s departure in space: the “place” of cosmos in the “device” of soul of Soviet man. It is a hypothesis that for a Soviet person, going in space was not a utilitarian but quasi-religious act: it was a search of a miracle. Trying to understand in terms of what views on the miracle this search was comprehended leads to likening the intentions of the Soviet soul to the religious attitudes of the late Antiquity-Renaissance. Assuming that the miraculous understood by the Soviet mass consciousness in the spirit of eclecticism and pantheism inherent in these eras as not a divine prerogative but nature as wonderful itself. Man (and the scientist as the quintessence of man) is a magician, called to master the wonderful forces of nature from the standpoint of his knowledge. The cosmonaut is the actualization of the human divine potential, that is, the superman, the cultural hero, the transcendental subject. The detailed understanding the miracle arises from the general “device” of the soul of a Soviet person, akin to the antique device of the soul in an installation for eternity, anti-historicity, playfulness (frivolity) as opposed to the historicity and seriousness of Christian soul. The idea of man’s mission in space was the most vivid and convincing embodiment of the Soviet narrative: progressively and unswervingly becoming better, overpowering the “nature,” on whose existential dramas gambles the Christianity. The ambitious naivety of the Soviet project of man is stated, but also its perspective in overcoming the current crisis of humanism: the dominance of the anonymous entities that rule the man.

65-73

Authors: Svetlakov Yuriy Yakovlevich, Professor of Department of Photovideocreativity, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: svetlakov38@mail.ru Svetlakova Elena Yuryevna, PhD in Philosophy, Associate Professor, Department Chair of Photovideocreativity, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: luna-65@list.ru

One of the most striking pages of world film history is the Soviet newsreel, which at some time was synonymous with film truth in the USSR. The article is devoted to the issues of documentary filmmaking in cultural and historical understanding, and focuses on the Kuzbass newsreel of the Soviet pre-war period in the mirror of screen documentaries of Siberia. The main task and theoretical significance of the work is to collect, systematize and identify the dominant trends of the main periods of filming the documentary-chronicle cinema in Siberia. Despite the relevance of the topic of a phenomenon of a chronicle-documentary film, the state of study of the Kuzbass newsreels’ history is very modest, scientific works on the definition of the place of a film chronicle in the cultural space of the country is also extremely small. Based on the review of the available literature, the authors come to the conclusion about the marginality of this trend in modern cultural and historical studies. The practical significance of the work lies in the possibility of using the number of provisions for further study of the problem of the devaluation of newsreels in Russia, and in understanding the Soviet experience of cultural construction. The subject of the study is trends in the development of newsreels in Siberia. The article is based on the materials of the books “The Cinema in Siberia. Essays on the History of an Early Siberian Movie (1896-1917)” V.A. Vatolin, “Films of memory” and “The Chronicles of Kuzbass” Y. Svetlakov. A theoretical base also represents the works of L.N. July and G.S. Progeco.

83-92

Authors: Borodin Boris Borisovich, Dr of Art History, Professor, Department Chair of History and Theory of Performing Arts, Ural State Mussorgsky’s Conservatoire, Member of the Union of Composers of Russia (Ekaterinburg, Russian Federation). E-mail: bbborodin@mail.ru.

The topicality of the proposed article is determined by the fact that the mechanical forte-piano occupied a prominent place in the musical culture of the first third of the 20th century. This instrument recently has increasingly been included in the field of attention of foreign researchers in connection with the study of the phonographic heritage of outstanding pianists of the past and the early stages of sound recording development. This area is undeservedly overlooked in the domestic art history. The purpose of this study is to overcome the existing information gap by summarizing data from foreign sources available for the author. According to the principle of action, a mechanical piano cannot be attributed to audio-recording technologies, since an automatic action is recorded, but not an acoustic phenomenon. However, at the same time, this musical instrument is a sound-reproducing apparatus, to a certain extent preserving the intentions of musicians participating in the process of fixing and reproducing the performance of a musical work. Pianola is one of the varieties of the mechanical piano, which is controlled by the operator-pianolist. It is a means of disseminating the musical works of a wide genre range (from fashion dances to symphonies and operas), a musical instrument sounding in concert halls, a device providing new opportunities for the realization of composer’s ideas. This article discusses about numerous examples of pianola design features and its functions. A special section is devoted to a role of a pianola in musical culture of modernity: composing work of Conlon Nancarrow (1912-1997) and performing art of pianolist Rex Lawson. It is concluded that pianola in modern concert life becomes a peculiar attribute of the HIP practice, along with instruments of the Renaissance and Baroque eras.

98-104

Authors: Knyazev Anatoliy Mikhaylovich, Associate Professor, Associate Professor of Department of Musical and Instrumental Performance, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: kniazev1951@mail.ru Knyazeva Nadezhda Andreevna, Associate Professor of Department of Musical and Instrumental Performance, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: kniazev1951@ mail.ru

One of the issues working with a musical piece is a convincing discovery of art in an image of a studied work. Students’ knowledge of the intonation components of the musical language, characteristics of their interaction, style and form, allow us to reveal literally and fully the art in a content of musical works. During the analysis and synthesis of theoretical sources and their own practical work experience, it was concluded that integrity and style of the analysis should be in the working process with a musical piece. This article provides a comparative description of the style and holistic types of analysis thinking about a musical work, emphasizes the dialectical unity of a content in the style and holistic analysis, suggests various levels discovering the content of a musical work. Despite the fact that in their tasks, these two types of analysis are opposite to each other, in the subject matter of the study, the relationship between the holistic and stylistic types of analysis are complementary. The criterion of paramount importance is the deepening the scientific aesthetic knowledge of the whole diversity of historically specific phenomena of musical art and their importance in training the performing musician. The levels in the disclosure of the content of a musical work are both, technological principles and conceptual analysis of the musical image, which is shown in case of performance interpretation of the play “Snowdrop” from the cycle “Seasons” by P.I. Tchaikovsky. An analytical work in the process of studying the musical piece will allow the performer to understand the depth of musical images and successfully make the necessary adjustments to the technology of the musical and performing process when playing the bayan and accordion. The proposed approaches to understanding the artistic image of a musical work through the analysis of its features will contribute to successful transference of the content of a musical work to audience by the performer.

115-121

Authors: Sukhanova Tatyana Borisovna, PhD in Art History, Associate Professor of Music Pedagogy and Performance Department, Glinka Nizhny Novgorod State Conservatoire (Nizhny Novgorod, Russian Federation). E-mail: t.b.suhanova@yandex.ru

The article presents I. Lesman’s comments (presented in his manuscript “My Memories and Thoughts of L. S. Auer”) on the famous work of L. Auer “My School of Violin Playing.” The relevance of the topic is currently determined by the ambiguity of the assessments of musical-aesthetic and pedagogical criteria of this recognized master by his foreign contemporaries, as well as by Soviet authors. The purpose of the work is to supplement modern ideas with different points of view on L. Auer’s vision of methodological problems. The main research method is comparative; it allows to reveal the significance and perspectiveness of Auer’s methodological recommendations, which to some extent have been embodied in the statements of Russian musicologists of the 20th century. The article offers comments of both, I. Lesman and the author of this article, on the key problems of Auer’s work: the importance of the mental factor in instrumentalist training, close attention to the physiology of the playing movement, on the role of rhythm, nuance and phrasing in the perception of the work interpretation. The article considers a number of polemical issues: on the function of the violinist’s right hand in the process of sound extraction, on the use of vibrato, revealing the contradiction between the 19th and 20th centuries’ methodological guidelines and differences in ideas about the stylistic norms of musicians of different generations. Particular emphasis is placed on the views of L. Auer regarding the issues of music education, which in the second half of the 19th century proposed the idea of creating an internship program for music teachers and forcing standardization of private teaching in order to increase its level.

126-129

Authors: Loseva Svetlana Nikolaevna, PhD in Psychology, Associate Professor of Department of Music Education, Irkutsk State University (Irkutsk, Russian Federation) E-mail: Loseva@bk.ru

The article describes the approach to the creative component of musical talent and synesthetic research on this issue. A scientific system of several basic concepts is being built on the basis of a study by N. Kolyadyenko. The approaches of the synesthetic aspect of the study are described: consideration of the special intersensual perception of musical sounds and manifestation of the creative structural component of musical talent. The author emphasizes the position of exploring the creative component of a musical talent and for the first time notes the significant role of the synesthetic aspect in the structure of a musical talent. The paper deals with the practical analysis of the synesthetic perception of a musical text on the example of the composers’ creativity and the analysis of the studies of creativity. It is noted that the work of composers of different eras and styles have different “synesthetic load,” which may be one of the reasons for choosing the material for synesthetic analysis. The author’s approach is determined in the study of the synesthetic of musical talent: the factors influencing the synesthetic character of individual composer’s creativity are determined in the close relationship of the structural components of a musical talent, including the musicality, creativity, intellect and spirituality. It is emphasized that the productive method of constructing the components of the composer’s intention is the method proposed by N. Kolyadenko for establishing the synesthetic models of the stages of the artistic process, where the anticipatory synesthetic model of the artistic process corresponds to the composer’s intention.

133-140

Authors: Krylov Ivan Aleksandrovich, Sr Instructor, Department of Theatre Arts, Kemerovo State University of Culture, Member of the Union of Theatrical Workers of Russia (Kemerovo, Russian Federation). E-mail: kryloff_ivan@mail.ru Pomortseva Nina Vladimirovna, PhD in Art History, Department Chair of Musicology and Applied Musical Arts, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: musiclogist@ mail.ru Shorokhova Inna Vyacheslavovna, Associate Professor, Dean of the Faculty of Music Arts, Acting Department Chair of Conducting and Singing, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: shorokhovainna@mail.ru

Contemporary performing arts fight with authoritarian and totalitarian narrative in any form. Increasingly, the theatrical concept of contemporary directors is built on the denial of straight plots and deconstruction of the meanings of words, movements and actions. Slacking the primary positions of methodological bases of producing and acting skill in the practical aspect of creating the theatrical performance extends and transforms the theatrical language of the stage action. In contemporary domestic performing arts, everything clearly lies in the field of philosophy and aesthetics of postmodernism and post dramatic structure of theatrical action. Directors actively experiment with approbation of the postmodern forms and techniques in this art form. Expanding the boundaries of art, a producer outside the drama processes the embodiment of “Energy Theatre” by J.-F Liotar. Hans-Tis Lehman interprets the concept of Liotar’s “Energy Theatre” as the theatre “forces, intensities, affects their real presence.” It is the idea of “energy” in the modern theater; theatre culture powerfully implements the scrapped usual hierarchical externally internal links. Implementation of the “State Theatre,” “theatre and theatre of sensations” becomes the center of aesthetics and the philosophy of the performing arts in the 21st century. In art arsenal of expressive means, producing and acting art embedded performance and actionist ways of saying to escape the boundaries between life and art, to empower an exit abroad of previous art forms. This article attempts to analyze the specifics of the musical stage incarnation of choral performance of “I-We” represented by the Choral Theatre “Academy” to audience, in the context of a connection, mixing, synthesis of diverse arsenal dramatic and post dramatic techniques for translating the “energy theatre.” The study proved the feasibility of such an approach in the incarnation of a dramaturgic concept in multilevel and multidimensional format of the modern musical theatre.

150-156

Authors: Pechkurova Liliya Semenovna, Associate Proffesor of Department of Theatre Art, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: panteevat2008@rambler.ru Grigoryants Tatyana Aleksandrovna, PhD in Culturology, Professor, Professor of Department of Theatre Art, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: panteevat 2008@rambler.ru Berseneva Elena Vitalyevna, Associate Professor of Department of Theatre Art, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: Aneegma@mail.ru

The synthetic theater nature involves many artistic components in the creating process of the image performance forming. The theatre make-up has a value not only as an external figure of the actor’s character but as a full-bodied part of art image of a role. The actuality of the article is in the fact that the skill of theatrical make-up’s valuable art image is created if make-up is considered a part of the director and artist of the play intention. Make-up is an element of the producer’s artistic handwriting. The object of investigation is a presentation of the functional special features of make-up and determination of its dual nature: make-up as an element of external figure of a stage character and make-up as influence of an actor that facilitates more a complete idea of stage image. The artistic idea of the performance subordinates the creation of the character make-up. The analysis of structural units of compositions, plays, possible versions of the synthesis of expressive means and their lexical special features shows the place of stage make-up in the structure of the process of creating the role and artistic means of the performance. Introducing the external component of the hero, a stage makeup implements some functions. The first function is a correcting function (correcting or washing some deficiencies, which have actors). The second function is identification, which is determining the hero’s personality. The third is communicative, establishing the relations between the characters and the spectator. Comparing the form of the participation of make-up as the component of the artistic means of a character in the different theatrical schools, its dual nature is determined. On the basis of concrete performances, we can consider not only determined functions realization, but also the relationship of the stage make-up with other components of the system “stage costume.” The semiotic analysis allows to present that the artistic image of the character is composed of three components: “Habitus” (body of the actor) with all physiological special features, “Suit” which includes many parts (among them theatre makeup) and – “Kinesika” – a plastic sheet of stage moving, binding the whole structure of the artistic image. All three components are interrelated and interdependent, that is due to the characteristics of the human body. This circumstance determines dual nature of a stage make-up in the system of expressing components. The role of stage grim in the system of expressing components is caused by its functional special features.

170-180

Authors: Mishova Valeriya Viktorovna, PhD in Pedagogy, Associate Professor, Department Chair of Department of Automated Information Processing Technology, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: valeriya_mishova@mail.ru Ogneva Ella Nikolaevna, Sr Instructor of Department of Automated Information Processing Technology, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: ella@kemguki.ru

The problems of personnel training in the field of documentation and archival studies in the transition to a digital economy are considered. There is no compliance of educational programs with the requirements of employers and current trends in the economy. It characterizes the national program “Digital Economy of the Russian Federation” in terms of training the transition to a digital economy. The processes of informatization in the field of documentation support of management, records management and archival science are noted as uneven. The requirements of employers to the knowledge and skills of specialists in the field of documentation and archiving are focused on the digital economy. The analysis of the qualification characteristics of the professions reflected in the single qualification directory of positions of managers, professionals and employees. It is revealed that experts in the field of documentation and archival studies, depending on their position, develop, implement, and organize the work of automated information systems and management systems. The results of the analysis of the labor functions of specialists in the field of documentation and archival studies, involving the use of information technology, reflected in professional standards are presented. The experts in the field of documentation and archival knowledge should have all necessary skills in the field of information technology, as well as the availability of labor functions in the design and operation of information systems in the professional sphere.

191-198

Authors: Кushev Aleksandr Mikhaylovich, Instructor of Department of Ballet-master Work, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: Kushev81@mail.ru Batalova Svetlana Gennadyevna, Instructor of Department of Classic and Modern Choreography, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: Kushev81@mail.ru

Duet dance, as educational discipline was formed from the epoch of Luis XIII and Luis XIV to the middle of 1960s. To examine the means and methods of training the students to the discipline “Duet Dance” on directions for bachelors of choreographic art, it is necessary in unity of intercommunications of historical and modern forms of duet dance, considering the activity and effect of connecting theintersubjective educational disciplines in content and functional principle of elements of educationalcreative process. Historically, duet dance got the development on nature of classic dance, and formed within the framework of the own knowledge considering the origin of modern types of choreographic art. The term “duet dance” is used in the advanced studies, textbooks of leading domestic and foreign teachers-choreographers, art and balletcritics. The pedagogical traditions of training the duet dance give an opportunity to opening its artistic value, methods and teachingmethods. Today, “Duet dance” is one of the leading special disciplines of choreographic education, having historical roots of development. It finds the application not only in the collectives based on classic dance but also in dancing schools of modern directions. On the modern stage of choreographic education, the duet dance obtained the new techniques of support and skills of stage communication that positively effects preparation of choreographers, graduating students to educational and creative works. Conditions of teaching the discipline “Duet dance” in the areas of training the bachelors in the field of choreographic art in the universities of culture, it is necessary to consider the unity of pedagogical, organizational and educational methods and methods. The activity and effectiveness of this discipline is expressed in relations and connections, interdisciplinary connections of choreographic disciplines in a meaningful and functional basis of independent elements of the educational-creative process.

207-214

Authors: Lyakhova Elena Georgievna, PhD in Pedagogy, Associate Professor of Department of Linguistics and Professional Communication in the Sphere of Media Technologies, Moscow State Linguistic University (Moscow, Russian Federation). Е-mail: liakhoval@mail.ru Moroz Natalya Yuryevna, PhD in Philology, Assistant Professor, Department Chair of Linguistics and Professional Communication in the Sphere of Media Technologies, Moscow State Linguistic University (Moscow, Russian Federation). Е-mail: nataschamoroz@yandex.ru Tsatskina Elena Petrovna, PhD in Pedagogy, Assistant Professor of Department of International Information Security, Moscow State Linguistic University (Moscow, Russian Federation). Е-mail: elenatsatskina@ yandex.ru

The article is devoted to the problem of formation of communicative professional competences in order to improve the foreign languages learning/teaching outcome of students of non-linguistic specialties. An interdisciplinary approach to formation of communicative skills of graduates of higher educational institutions allows providing the professional orientation in training the future specialists to a foreign language.In order to implement the integration of a foreign language into professional materials, it is suggested to use methods for measuring the effectiveness of PR activities. The article emphasizes that the demand for such methods among the professional public relations community is high, and the ability to use such methods is an obligatory requirement for a young professional, while constituting the convenient tool for developing the speaking and writing skills of students in the process of such educational activities that partially imitate their future professional occupation. From all the variety of PR analysis techniques, the authors of the article have chosen business case methods, definition of readability index and media analysis as tools that primarily contribute to the task of forming the intercultural professionally oriented communication, namely the formation of linguistic, pragmatic, sociocultural and strategic competencies. These methods also contribute to the formation of research competence among the masters, due to learning variety of PR cases, using the Internet resources and statistical data. In conclusion, the authors claim that using such methods as the business case, measurement of readability index and media analysis in PR professionally oriented foreign language training, it is possible to accomplish the task of developing students’ specific skills including writing the press-releases and using the foreign language in their professional activities.

220-231

Authors: Antonova Ludmila Yuryevna, PhD in Culturology, Associate Professor of Department of Socio-cultural Activities, Culturology and Sociology, Tyumen State Institute of Culture (Tyumen, Russian Federation). E-mail: luda-ckd@mail.ru Losinskaya Anna Yuryevna, PhD of Philosophy, Associate Professor of Department of Socio-cultural Activities, Culturology and Sociology, Tyumen State Institute of Culture (Tyumen, Russian Federation). E-mail: annal_72@mail.ru

In the article, the concept of leisure culture is actualized, and its meaningfulness opens up in the context of accomplishment and self-accomplishment of learning youth. The study assesses the role of play and game practices in the formation of leisure culture in connection with the age psychological and socio-demographic characteristics of students. The features identified, including the regional material collected and analyzed by the authors in the course of working on the dissertation research. The game is considered as the constitutive beginning of culture, in accordance with the concept of Y. Huizinga, as a model of any particular activity. The main schools of game modeling in social and humanitarian practices, including the leisure practices are listed. This gives grounds to consider the game as the main vector of formation of culture of leisure and leisure culture. In connection with the differentiation of interrelated processes of accomplishment and self-including in the process of free unregulated activities in the field of free time, i.e. in the field of leisure, the difference in the concepts of “culture of leisure” and “leisure culture” is emphasized. The first of them is connected with the activities of public institutions in the course of socio-cultural activities, the second, with the education of personal culture in the course of socio-cultural activities. However, in the formation of both phenomena, designated by these concepts, the role of the game and game practices as their main vector is shown. It is described how they provide the relationship of personally significant experiences and socially significant moods.

237-245

Authors: Moskalenko Irina Vladimirovna, PhD in Pedagogy, Associate Professor of Department of Pedagogy and Psychology, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: moskalenko.74@ mail.ru Shevtsova Margarita Mikhaylovna, Sr Instructor of Department of Pedagogy and Psychology, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: superpearlmargo@mail.ru

The article is devoted to formation of patriotic student’s qualities in the higher education, solved today by modern Russian society. The solution of the problem is promoted by the organization of volunteer activity as integral component of educational process of higher educational institution. On the basis of the scientific literature, it is possible to reveal the definition of patriotism because it has the dual nature of the concept “patriotism”. The article reveals patriotic qualities of the personality, and the difference between the concepts of “patriotism” and “volunteering.” The article reveals the possibilities of the volunteer movement, its socially important potential in modern sociocultural conditions, examples of different types of volunteer activity in Kemerovo State University of Culture are given. The article considers the possibilities of the volunteer movement as one of students’ interaction in higher education which are accepted and approved by modern society with the people needing moral, psychological, material and activity support. This feature of volunteering includes the student of higher educational institution of culture in the process of implementation of voluntary initiatives including the patriotic contents. Thus, values and volunteering promote formation of patriotic, spiritual, moral, civil qualities and an opportunity to apply them in real everyday life. The article considers as well such key concepts as “patriotism,” “patriotic qualities,” “volunteering.” It pays attention to concrete activities, interaction with authorities in realization of voluntary initiatives of patriotic contents. Updating the importance of the research, the article presents the results of the sociological research conducted on the basis of Kemerovo State Institute of Culture. This research is directed to the relation of students of higher education to volunteer activity, the priority motives which are a basis of volunteering and also interrelation of the concepts “volunteer” and “patriot” and how these concepts are understood by modern youth. It is revealed that the problem of students’ inclusion of higher education institution of culture in volunteer activity is relevant in modern conditions, and the students themselves are very active in this activity. Most of the students who participated in a research see a direct connection between phenomena of “patriotism” and “volunteering” and are ready to join consciously in volunteer activity that allows to form effectively and purposefully patriotic qualities in students of higher education of culture.

24-32

Authors: Shushkova Olga Mikhaylovna, Dr of Art History, Professor, Vice-Rector for Scientific Research and Education Activities, Far Eastern State Institute of Arts (Vladivostok, Russian Fedration). E-mail: notkafa@ bk.ru

The article deals with the influence that the personality and poetic heritage of Dante Alighieri had on art music of the 19th century. The author comes to the conclusion that the impact that the great Florentine had on the art of the romanticists was evident not only when they directly referred to the stories and the texts of his poetic works (primarily, to his Divine Comedy), but, in general, in the identity of their ethic and aesthetic attitudes with those of Dante. The article highlights the subject matters and the aesthetic and compositional principles enabling one to draw parallels between Dante’s poetic heritage and the music of the 19th century composers. One of the subject matters is, in particular, the theme of wandering, roving, and a trip to the other world as well as that of love and death (“search for Beatrice”). The author favours the idea that the images of Dante’s Inferno are presented not only in the 19th century programme music but in certain non-programme works of Chopin as well. The autobiographical character of Dante’s poetic creativity turned out to be homogeneous with the confessionary character of romanticism with its authors identifying themselves with their heroes. The peculiar musicality of the poetic language of the Divine Comedy appealed to romantic art tending to be synthetic. In the 19th century, a musician appreciated for his merits or talent was compared to Dante. Such a comparison was based not only on evident similarities, but also on the propinquity of imaginative thinking, the obvious parallels in the creative ways of the master deserving glory, his extroversive emotionality, and his active citizenship.

38-44

Authors: Liu Zhe, Applicant of PhD in Art History, Department of Musical Upbringing and Education, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation; Baotou, Chine). E-mail: galkax@ mail.ru

The article is devoted to the study of influence of the Twenty-four Preludes and Fugues, Op. 87 by Dmitri Shostakovich on his works in the period of 1951–1975. A series of works in all genres during these years served as a research material. The idea expresses and proves that this cycle not only concentrates the features of Shostakovich’s style but also becomes a kind of a benefactor for further evolution of the composer’s work. Examples of citing the fragments from Op. 87 are given in the work of the author and other composers. It is noted that neoclassicist tendencies, found in the works of the last period of creativity, go back to this opus. The standards of figuratively thematic, stylistic antithesis, characteristic of many Preludes and Fugues, are characterized in the works of these years. A special detailing of lyrical utterances in the chamber-vocal compositions and quartets of 1951–1975 is connected with Op. 87. Preludes and Fugues became the encyclopedia of Shostakovich’s intonation dictionary, which is mostly revealed through the genre semantics. The most diverse is the genre semantics of vocal genres, which was consonant with the further evolution of Shostakovich`s creative style – strengthening the vocal and vocal-verbal element. At the end of this article, there is the following conclusion: the last period of creativity of Shostakovich bears the stamp of both, open and indirect impact of the Twenty-four Preludes and Fugues. It is largely due to the universal concentration of images, traditions, and most importantly, intonation-genre models in Op. 87. Expanded polyphonic work in Op. 87 became an impulse for even more large-scale inclusion of the polyphonic element and polyphonic methods of working with musical material in works of all genres.

55-59

Authors: Loseva Svetlana Nikolaevna, PhD in Psychology, Associate Professor of Department of Music Education, Irkutsk State University (Irkutsk, Russian Federation). E-mail: Loseva@bk.ru Ivanova Lada Yuryevna, Sr Instructor, Department of Music Education, Irkutsk State University (Irkutsk, Russian Federation). E-mail: muzobr01@mail.ru

The authors, for the first time, made an attempt to solve a synestic problem in structure of musical endowments of M. Čiurlionis: on the basis of development of model of integration of synesticity of mental processes of structure of musical endowments of the composer’s work presents three levels of “sounding of a picture”: timbre-phonic, compositional and thematic, and intonational-dramatic. The first timbre-phonic level of “sounding of a picture” is interconnected with a component of structure of musical endowment: creativity. It is noted that the synesticity of judgment of musical material and its interrelation with picturesque interpretation of synthesis of arts: musical and graphic is characteristic of M. Čiurlionis’ creativity. The second composite and thematic level is interconnected with an intellectual structural component of musical endowments of M. Čiurlionis. Some parallels of development of musical and picturesque creativity of M. Čiurlionis in his pieces of music and pictures are defined: plasticity of forms, suite or cyclicity, picturesque or landscape, variation, serial or serial technique, polyphony of thinking, rhythm and development dynamics. The third intonational and drama level is interconnected with structural components of musical endowments: musicality and spirituality. For interrelation of intonational and drama level and components of structure of musical endowments (spirituality and musicality) in the course of integration of synesticity of psychological process and paramount synesticity of associative origin are valuable (more often all this is an object of research of art critics).

64-72

Authors: Smagina Svetlana Aleksandrovna, PhD in Art History, Sr Instructor, Department of Film Studies, Film Art Institute, Russian State University of Cinematography named after S. Gerasimov (Moscow, Russian Federation). E-mail: smsval@mail.ru

The author of the study is very important the problem of understanding art and culture, taking into account the concept of gender, which allows you to more accurately consider the characters formed images in certain historical periods. Thanks to him, that the researcher is more attentive to the system of socio-cultural representation. This concept is historical and, accordingly, the study of this or that culture itself outside this concept cannot create the confidence of a fairly complete and objective understanding of it. The character of the female image is one of the most important elements of many artistic texts, acting as a kind of set of types of social behavior inherent in a particular culture in a certain historical time of its development. The article is devoted to the changes that occur in the representation of the female image in the French cinema of the late 1950s – early 1960s, known as the “new wave.” This period in European society is marked by an active process of destruction of patriarchal values. At this time, traditionalist ideas about the place of women in social and cultural life are subject to serious revision. The cinema responds to these changes by the appearance on the movie screens of “new French women.” Through an analysis of the representation of women’s images, the article declares not just the characteristics of various modern cinema characters, but indicates the transition from the patriarchal to the feminist gender model in the European society of the 1960s.

80-92

Authors: Makarchuk Sergey Vladimirovich, Dr of Historical Sciences, Professor, Professor of Department of Russian History, Kemerovo State University (Kemerovo, Russian Federation). E-mail: makar@kemsu.ru Genina Elena Sergeevna, Dr of Historical Sciences, Associate Professor, Professor of Department of Russian History, Kemerovo State University (Kemerovo, Russian Federation). E-mail: elena_genina@mail.ru

On the basis of the concrete historical archival material that was first introduced into the scientific circulation, the political culture of the committees of the VCP(b) – CPSU of Kemerovo region during the struggle with cosmopolitanism in the late 1940s – early 1950s is characterized. The axiosphere of the partypolitical culture and its axiological dominants are disclosed on the basis of the artifacts of the corporate culture of the committees representing the documentation originating from the party organizations themselves. It was proved that in the period under review such axiological dominants such as the infallibility of the Marxist- Leninist ideology and the Communist Party, belief in the victory of communism, patriotism, collectivism, leadership were established in the axiosphere of the political culture of the committees of the VCP(b) – CPSU. These features, as well as the general sacralization of the party-state power, became the main content of the political axiosphere not only of the party committees, but of the whole society. The values of the corporate political culture of the party committees were imposed on all workers. The analysis of party documents conducted by the authors shows that such basic value as patriotism was understood solely as love for the socialist homeland, the communist party and its leader. The study of most of the basic values of the political culture of the committees of the VCP (b) – CPSU leads to the conclusion that the ideocratic, totalitarian-subject type of political culture, integral to the Soviet model of totalitarian modernization, has been established in the party. The article reveals the characteristic features of this type of culture and shows the specific actions of the party committees as actors of the established type of political culture. The conclusion is made about the prevalence of radical, extreme forms of political action in the behavior of communists in the absence of tolerance and a culture of compromises. This conclusion is confirmed by the “KMK affair” and the events connected with the “illegal synagogues” in the cities of Kemerovo region, as well as the “doctors affair” and the attack on the creative intelligentsia.

99-106

Authors: Rudenko Konstantin Aleksandrovich, Dr of Historical Sciences, Associate Professor, Professor of the Department of Monumental and Decorative Art, Painting and Art History, Kazan State Institute of Culture (Kazan, Russian Federation). Email: murziha@mail.ru

The article discusses the key issues of the formation of the medieval culture of the peoples of the Middle Volga area, which became the basis for the further development of ethnocultural processes in the region. The author believes that the main problem in studying the history of culture in the region in question is the specificity of the sources, since most of them are archaeological materials. Written sources about the peoples of the region are few and subjective. Many of them, e. g., Russian chronicles, are simply records of events in the context of which the chroniclers of this or that princedom were interested. There are very few authentic written data. Developed by the end of the 20th century the corpus of sources was studied by scientists of different directions: archeologists, historians, art historians in the national republics of the Middle Volga. At the same time, a common view on the history of the culture of the peoples of the entire region as a whole did not work out. We consider three periods of the history of the culture of the peoples of the Middle Volga of the Middle Ages. The first period is the culture of the Khazar era of the Middle Volga region: the 7th – the second half of the 10th century. The second period is the culture of the Bulgarian epoch of the Middle Volga region: the end of the 10th – the first half of the 13th century. The third period is the culture of the Golden Horde period of the Middle Volga region: the second half of the 13th – the first quarter of the 15th century. The basis for distinguishing the periods was both, the traditional cultural dominants and the new elements introduced into the memory of culture with their cultural codes.

115-125

Authors: Panova Olga Sergeevna, PhD Applicant, Russian State University for the Humanities (Moscow, Russian Federation). E-mail: panipanova@gmail.com

This paper analyses functional role of portraiture in the culture of the Chinese court during the Northern Song Dynasty (960-1127). Shifting the focus of analysis from the art object itself to its function enables us to interpret the Chinese traditional painting against its historical and social context. This paper attempts to answer the question of what function portraits played at the Song court between the 10th and 11th centuries. The goal of this study is to define the main categories of official portraits based on function. The paper starts with the description of portraiture terminology and main features of the genre during the Northern Song Dynasty. Based on the study of the primary sources, the paper then analyses four categories of official portraits. The first category is portraits with didactic meaning representing exemplary personalities of past and present. Song emperors commissioned portraits of ancient rulers, prominent scholars and officials to promote Confucian moral values among the members of the imperial family and bureaucrats. Such portraits were addressed to a broad audience and thus were placed in the public space. The second category: portraits depicting the current emperors; these portraits were usually stored in imperial archives and intended for a private use. The third category: portraits of former emperors, which were commissioned for ancestor worship ceremonies. Images of this category were installed in special ancestral halls and served as objects of veneration. The fourth category: portraits of political opponents or rulers of neighboring states. These portraits were commissioned for the goals of intelligence, political struggle and diplomacy.

130-139

Authors: Skacheva Nina Vasilyevna, Instructor, Department of Foreign Languages, Krasnoyarsk State Agrarian University (Krasnoyarsk, Russian Federation). E-mail: sollo_sk@mail.ru

The growing interest in identity processes in a globalizing world causes increased attention to languages and cultures. Concepts, as linguistic signs of reflection of the world in the mind of a person, are considered as possible grounds for preserving cultural identity. The author analyzes the meanings of concepts and in the course of linguo-culturological analysis reveals them in phraseological units. The author conducted a research of the concepts of Arbeit, Geld, Sparsamkeit (work, money, savings), fixed them in German phraseological units and determined the basis for the classification of phraseological units, both in terms of language and in terms of the culture of the German nation. Research of these concepts has shown that each concept has a meaning inherent in this culture, which is revealed only in phraseological units. For example, the concept “Arbeit” is directly proportional to the remuneration of labor, which is reflected in the phraseological units: Wie die Arbeit, so der Lohn – what kind of work, such and payment; Arbeit ist der Mühe Lohn – work is a concern for salary; Vom Tellerwäscher zum Millionär – from dishwasher to millionaire; Klein Geld, kleine Arbeit – small money – a little work. These phraseological units shows such interrelation as “work = money (salary)”. Also a lot of German phraseological units have such meaning as “saving is earning”, for example, Spare was, dann hast du was, Wer spart, wenn er hat, der hat, wenn er bedarf, Heute zechen, morgen nichts zu brechen, etc. Therefore, concepts “Arbeit”, “Geld”, “Sparsamkeit“ (work, money, economy) are interconnected in the German culture and each of concepts bring an own semantic potential of the meaning. According to this semantic potential it is possible to unite in groups (to classify) phraseological units of German.

147-152

Authors: Nurgalieva Marina Borisovna, Postgraduate, School of Arts and Humanities, Far Eastern Federal University (Vladivostok, Russian Federation). E-mail: marin-nakhodka@mail.ru

The article discusses the issue of preserving ethno-cultural diversity, which plays an important role in the formation of ethno-cultural policy in the Far Eastern region of Russia. We consider different approaches to the definition of ethno-cultural diversity, as a generally accepted understanding the foundations of ethnic culture: rituals, customs, behavioral habits and other stable features, handed down from generation to generation. The relevance of the article raises the theme of the development of the museum, as a sociocultural institute for the development of mechanisms for the inheritance of traditions of ethno-cultural diversity. The need to study the issue is associated with an increase in migration processes in the South of the Far East of Russia. The new strategy of the state national policy, adopted for the period until 2025 by the Decree of the President of the Russian Federation in 2012, today, plays an important role in shaping the ethno-cultural policy in the Far Eastern region of Russia and should determine the main activities of cultural institutions, including the museums. The author of the article describes the current situation in the museums of the South of the Far East on the use of new forms in the translation of the ethno-cultural heritage. The practical experience of 11 leading museums of Khabarovsk and Primorsky Territories, Amur Region for 2012-2017 was collected and reviewed. The new forms and mechanisms that appeared in museums in response to modern challenges, including the ethnic communities are described. The article considers the existing mechanisms: expositions and exhibitions, educational forms. An attempt has been made to analyze the museum practices for the past five years, to determine the most effective mechanisms in reflecting the ethno-cultural diversity of the South of the Far East.

159-165

Authors: Patrusheva Galina Mikhaylovna, PhD in History, Associate Professor, Dostoevsky Omsk State University (Omsk, Russian Federation). E-mail: galina.mikhail@mail.ru Gavrilenko Irina Viktorovna, Postgraduate, Dostoevsky Omsk State University (Omsk, Russian Federation). E-mail: iveprov@gmail.com

The article discusses the key legislative acts relating to the relationship of the museum and the “special” (disabled) visitors, creating an accessible environment in the exhibition space; the main emerging problems in the first stages of developing proposals for different groups of persons with disabilities and ways to overcome them. The terminology used by the museum staff in the framework of the “medical” and “social” models, their correlation and causes of the terminological diversity are analyzed. The experience of the Omsk Regional Museum of Fine Arts named after M.A. Vrubel on the development and implementation of programs for children with intellectual disabilities and adults with deaf-blindness is analyzed. Particular attention is paid to the specifics of the material of the art museum working with these categories of visitors, the need to form a tactile didactic fund. The article suggests possible solutions to the problems associated with the lack of blindness and deaf education specialists in the museum staff through building partnerships with relevant institutions; creating an accessible environment without changing the exposure, through the use of embossed copies of paintings, replicas of volume exhibits from the museum. Special attention is paid to the issue of special and inclusive features of the created programs, adaptation of the main museum offerings.

172-179

Authors: Vasyutin Sergey Aleksandrovich, Dr of Historical Sciences, Associate Professor, Associate Professor of Department of World History and Socio-political Sciences, Kemerovo State University (Kemerovo, Russian Federation). E-mail: vasutin2012@list.ru

The last decade, the researches of Inner Asia nomadic cultures have been focused on archaeological, linguistic, ethnological and social and anthropological studies, publishing the excavation materials, their presentation in museum and private collections. The purpose of the article is to study the essential problems of Inner Asian nomadic empires’ historical and cultural heritage. In Mongolia and the autonomous region of Inner Mongolia in China, a great care is currently devoted to preserve the historical and cultural heritage of Genghis Khan and the Mongolian Empire. The heritage of the Turks, Uyghur city culture and Khitan is great and includes material culture objects, ancient manuscripts, city centers, religious and cultural traditions of different ethnopolitical units of the nomads, ended up in steppe Sogdians, Chinese and other ethnic groups of settled peoples. Comparative and historical method has allowed to outline the importance of certain historical and cultural objects and compare the Turk, Uyghur and Khitan heritage with the Mongolian Empire heritage in modern Mongolia. Analytical studies have been done to generalize the forms and methods of protection of nomadic empires’ historical and cultural heritage in modern Mongolia and reveal the main problems of archaeological sites and objects of the middle 1st – early 2nd Millennials. The research has shown that besides the historical and cultural heritage of the Mongolian Empire period, there are serious problems of the Early Middle Age city sites’ preservation, use of ambiguous ways of museification of architectural and archaeological objects with Middle Age inscriptions in steppe conditions, minimizing the artifact selection for museums and a wide range of other questions. A limited participation of Mongolian culture administration bodies in preservation of historical and cultural heritage of nomadic empires in the 5-12th centuries doesn’t allow using the complex approach of cultural preservation activities and leads to loss of certain objects and destruction of big historical and cultural objects of the Middle Age.

194-206

Authors: Telmanova Anastasiya Sergeevna, PhD in Pedagogy, Associate Professor of Department of Management and Economics of Sociocultural Sphere, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: astel-75@mail.ru Kolesnikova Polina Sergeevna, Graduate Student, Department of Management and Economics of Sociocultural Sphere, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: kolesnikova.polia2016@yandex.ru

Today, the socio-cultural services market needs professional personnel able to follow the trends of modern cultural life, determine the forms and methods of transmission of the potential of the socio-cultural sphere, in accordance with the basic education received. Purpose of the study. Determining the prospects for the implementation of interdisciplinary design as a form of improving the professional level of bachelors studying in universities of culture. In the study of promising forms including the potential of socio-cultural space in the educational process of higher education institutions and mainstream practice-oriented activities, the bachelors revealed that the most popular forms are interdisciplinary educational projects that simulate real situations of professional activity and identified socio-cultural conditions for the implementation of interdisciplinary projects, qualified personnel of the socio-cultural sphere, pedagogical potential of the socio-cultural space, involvement of students in project activities, and consideration of their professional interests. An analysis of the socio-cultural sphere of the region revealed the need for personnel with a higher level of qualifications in the field of culture, socio-cultural activities and tourism. In the course of the study, an experiment was conducted to simulate professional situations for students in the areas of bachelor’s studies “Folk Artistic Culture,” “Design,” “Socio-cultural Activity” and “Tourism” in the context of interdisciplinary project-specialized tour “Photo-plein Air Competition ‘Picturesque Tanai.’” The implementation of this project allowed to the educational process include a new form of development of general professional and vocational competences of future cultural workers of Kemerovo Region in accordance with requirements of the Federal State Educational Standards for Higher Education, taking into account the needs of the region in training the qualified personnel in the development of priority areas of cultural policy and potential socio-cultural space of the territory.

217-224

Authors: Churekova Tatyana Mikhaylovna, Dr of Pedagogical Sciences, Professor of Department of Pedagogy and Psychology, Kemerovo State University of Culture, Honorary Worker of Russian Higher Education (Kemerovo, Russian Federation). E-mail: churekova_t@mail.ru Puranen Veronika Nikolaevna, Postgraduate, Interuniversity Department of High School and General Pedagogy, Kemerovo State University (Kemerovo, Russian Federation). E-mail: bukvica-kem@mail.ru

In a modern dynamically developing and transforming society, a number of requirements are imposed on the personal qualities of a person. Among them the following should be noted: ability of a person to easily adapt to frequently changing conditions of existence and activity, ability to effectively interact with other people, readiness to solve a large amount of tasks in a limited time interval, high professionalism, presence of non-standard thinking and creativity, ability and readiness for an endless process of education The article is devoted to a relevant current problem of rising the generation socialization. The authors draw attention to component foundation socialization process approval, opening some points of view describing the philosophical, sociological, psychological and pedagogical approaches to a phenomenon of socialization. The article describes some scientists’ points of view to components of the socialization process. Gnostic, communicative, emotional, value, activity and regional components are defined as fundamental. Components’ informative filling is dealt with modern pre-school age characteristics consideration. It should be outlined that the family is the most important socialization institute for children; the authors show family potentialopportunities in studying process and point out the difficulties of present-day families. Recognizing the society significant role in children preparation process for social life, the researchers speak in detail about these process positive and negative tendencies, accelerating or slowing the socialization process. Role of Nursery Children Educational Organization in efficiency achievement of socialization process is determined; the necessity of interaction between parents and teachers is founded.

231-237

Authors: Alekseev Andrey Gennadyevich, Associate Professor of the Department of Design, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: Alek-seev@mail.ru

The constant emergence of new educational standards reveals the need to introduce new methods of teaching, which, in turn, should create a favorable environment for the development of various styles of knowledge necessary for the consistent development of a harmonious personality, in the arsenal of which not only the necessary sets of tools and design skills should be present but the necessary types of professionally oriented thought processes rationally integrated into consciousness. The purpose of this article is to discover the capabilities of the mood board analysis technology in the development of analytical thinking of future specialists in the field of design engineering. The article attempts to clarify the origins of the concept of the mood board and find possible domestic counterparts. The essence of the positive impact of the development of a mood board on the development of analytical thinking of future specialists in the field of design engineering is described. The essence of the mood board the development of both, convertible and divergent types of thinking. The article provides an algorithm for creating an approximate psychological portrait of the end user. It describes the technology of finding the color solutions for design projects. The article presents an analysis of the results of the Department of Design of Kemerovo State Institute of Culture (KemGIK) on the implementation of the technology of board-analysis in the educational process.

246-254

Authors: Tkachenko Lyudmila Anatolyevna, PhD in Art History, Associate Professor, Associate Professor of Department of Design, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: ludmilatk@bk.ru Tkachenko Andrey Viktorovich, PhD in Art History, Associate Professor, Associate Professor of Department of Applied and Decorative Art, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: andreitk64@gmail.com

The article considers the issues of ceramics artists’ training at Kemerovo State Institute of Culture. The main task of training the future artists-ceramists is teaching them professional skills and traditional and modern technologies, as these help create bright images in works of art. Moreover, knowing the technology unconditionally contributes to a graduate’s successful career. While training, undergraduates study a number of subjects to improve their skills and knowledge. They also have hands-on potter’s practice. Each subject has a different approach in mastering art ceramics. The students deal with several types of ceramic materials, such as red and white clay and chamotte. Studying the other ceramic materials, such as porcelain and faience is limited due to lack of materials and special technological equipment in the institute. As a result of the changes in technology and materials, instead of orientation to mass production, an artist-ceramist should create single, unique works of art. Therefore, studying the equipment for production of ceramic masses; furnaces for roasting of mass types of products or mechanical ways of dressing is not relevant. Due to above-mentioned changes the subject “Materials science” requires updating the content. The authors have reviewed educational literature on material science and art ceramics technology and categorized them: textbooks for universities of art, books with the description of workshops on producing the products of different degree of complexity and textbooks for mass production experts. The authors have proved the lack of textbooks meeting the modern requirements and need for their creation. Despite many difficulties, such as reduction of number of classes, lack of industrial practice and modern literature on materials science and ceramics art technology, studying the ceramic materials and available technics has been successfully implemented at the Decorative and Applied Arts Department of Kemerovo State Institute of Culture.

20-26

Authors: Yaroshenko Nikolay Nikolaevich, Dr of Pedagogical Sciences, Professor, Department Chair of Sociocultural Activity, Moscow State University of Culture (Moscow, Russian Federation). E-mail: yaroch1@ yandex.ru

From the perspective of the modern theory of socio-cultural activity, the modern public library is considered as a center of socio-cultural animation and social self-organization. The technology of socio-cultural animation contributes to the support and reading development, as well as social integration of population in a region. Differences in the interpretation of the concept of “socio-cultural animation” are shown: Russian researchers limit socio-cultural animation to a set of organized cultural practices, in the center of which the organization of leisure activities and recreation; the foreign literature gives a broad interpretation of animation as a way of implementation of initiative social action, civil activity of groups and individuals, including the processes of creation, preservation and development of civil society institutions. The current content of socio-cultural animation in the context of the concept “Civilization of leisure” is analyzed by J.R. Dumazedier. A significant factor in the profound changes in the way of life of all socio-demographic groups has become such trends as the autonomation of leisure and increasing its importance in the value systems of the population, especially young people. It is concluded that the modern cultural practices of libraries, as well as other cultural institutions, are due, on the one hand, to changes in the nature and content of leisure activities of modern man, and on the other, to its formation as a subject of social self-organization, ensuring the formation of libraries as centers of culture and leisure. Implementation of various forms of socio-cultural animation in the library (theatrical animation, game animation, communicative animation, etc.) contributes to the real improvement of the social status of reading, promotion of reading among different social groups of society, primarily in the youth environment.

33-37

Authors: Yudina Anna Ivanovna, Dr of Pedagogical Sciences, Professor, Dean of the Faculty of Sociocultural Technologies, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: yudinaannaivanovna@mail.ru Konstantinova Anna Yuryevna, Graduate Student, Department of Management and Economics of Sociocultural Sphere, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: anyuta. constantinova2011@yandex.ru

The scientific article deals with the actual problem of information support for the activities of cultural institutions for organizing the leisure activities for young people. Young people are a special social and demographic group, more prone to the influence of modern cultural trends. The task of the state at the present stage of the development of society is to create conditions for the formation of a harmoniously developed personality. In this regard, the activities of cultural institutions in this area becomes particularly relevant. Culture marketing should also take into account the difference in needs among different social groups. In particular, the higher the educational level of a person, the more he is interested in such types of art as literature, theater, painting, opera, and also manifests an increased desire to master cultural values in general and increase personal cultural level. In the article, the authors emphasize that leisure preferences of students have their differences from other age and social groups. The student youth spends most of their leisure time on the social networks of the Internet, which is an opportunity for them to have fun, chat with like-minded people, and also a way to find information of interest to them. The last statement allows us to conclude that it is necessary to introduce advertising of cultural events in social networks, placing banners and posters on the advertisement platforms, instead of focusing on television and radio. The scientific article presents the results of a sociological survey, which was conducted among students in order to identify how quality advertising affects the perception of young people.

47-53

Authors: Kostyuk Natalya Vasilyevna, Dr of Pedagogical Sciences, Professor, Corresponding Member of Academy of Pedagogical and Social Sciences, Director of Scientific Research Institute of Cross-cultural Communication and Sociocultural Technologies, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: kostuk1978@mail.ru Sultan Rumiya Garifulaevna, Postgraduate, Instructor of Department of National Dance, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: sultanrumiyagarifulaevna@mail.ru

Modern conditions of vocational education space, both, regional and all-Russian, require implementation of an individual approach to students’ professional training. The relevance of individualization of educational process in educational organizations in the sphere of culture and arts is increased due to features of future professional activity of students of universities in this sphere. The alignment of individual learning and professional trajectory of students depends on a number of factors: external and internal. The purpose of the presented article is to justify the need to develop positive motivation to learn as one of the general factors that significantly affect the efficiency of building and implementing the educational and professional trajectory by a university student in three main areas: substantive, activity and procedural. During the analysis and generalization of the results of theoretical and applied research devoted to the study of approaches to the construction and implementation of individual educational trajectories, individual educational route for students of different levels of education: adaptive type trajectories, developmental trajectories, creative orientation trajectories, tutor support technologies and others, and also approaches to structuring the factors of building the educational and professional trajectory; it was concluded that imagery and prospects of the development problems develope positive motivation to learn in university students of culture and arts.

62-68

Authors: Melkova Svetlana Vasilyevna, PhD in Techniques, Associate Professor, Associate Professor of Department of Design, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: Veta_mail@mail.ru

Among the many educational and educational tasks that universities solve during the professional training of specialists, a special place is occupied by the formation of aesthetic taste in future designers. Such a phenomenon of modern culture as fashion design has a direct impact on the formation of students’ aesthetic taste. The purpose of the article is to reveal the role of fashion design in shaping the aesthetic taste of design of students to identify its positive and negative impact on trainees. The article describes the problems of the development of aesthetic taste in design education, emphasizes the need to distinguish between the concepts of “artistic taste” and “aesthetic taste.” Particular attention is paid to the analysis of the concept of “fashion design,” which covers all areas of activity generated by fashion, including the costume design, fashion magazines, magazine covers, fashion illustrations, fashion albums, advertising of fashion brands, etc. Based on the analysis of works of modern fashion illustrators, a conclusion is made about the possibility of both, positive and negative effects of fashion illustration not only on formation of the aesthetic taste of people but also moral values and lifestyle. The results of an empirical study (questionnaire), confirming the high demand and relevance of fashion design in general and fashion illustrations, in particular, as a means of giving the information about clothing models are presented. The article presents the results of the work of Department of Design of Kemerovo State University of Culture (KemGIK) in the direction of fashion design: design of clothing collections, development of fashion illustrations, fashion albums, etc.

77-84

Authors: Samitov Dmitriy Gennadyevich, PhD in Sociology, Associate Professor of Department Producing and Management of Performing Arts, Production Faculty, Russian University of Theatre Arts – GITIS (Moscow, Russian Federation). E-mail: goodluck@bk.ru

Laboratory theatres are valuable for study as a fundamental element of development in the first stage of the formation of a stationary theater. Drama companies, having developed from small to regional theatres of medium and large forms in different cities of the USA, represent a typical example of such development. The article analyzes the problems of the appearance and existence of a laboratory theatre in the USA. The formation of this creative and organizational phenomenon is associated with the role of the artistic leader, uniqueness of tasks, opposition of the commercial stage, minimal financial means and small forms. The history of various European theatrical groups is compared with the history of “American Laboratory Theater,” “Working Laboratory Theatre,” “Actors’ Laboratory Theatre” and others. The study of their organizational and creative form, repertory policy in the Living Theater (1951), led by J. Beck and J. Malina, identifies the main problem – the inability to achieve an increase in professional creative level in the face of economic instability. The creative and organizational activity of the “Intiman Theatre” in Seattle shows the positive experience of the existence of a non-profit theatre, including the use of a permanent theatre building and the confirmation of its own programme. The study and understanding the problems of laboratory theatres in the United States is relevant for modern Russia, because the laboratory period of a theatre is often the first stage to obtain the professional status.

90-94

Authors: Puzyreva Inga Anatolyevna, Department Chair of Modern and Classic Choreography, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: pi42@mail.ru Grigoriantz Tatyana Aleksandrovna, PhD in Culturology, Associate Professor, Professor of Department of Art of Theatre, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: panteevat2008@rambler.ru

The theater is an art of changing together with transformations of human life. Theatrical reality, materialized through stage performance text are created not only by a director but also by a painter, choreographer, plastic and vocal teachers. Stage text of modern drama performance is most commonly alloy elements of various kinds of arts: painting, sculpture, music, stage speech, dancing art, pantomime, free plastic, vocal, instrumental art. One of the important components of modern drama is a dance and different variants of plastic improvisations. Choreographic scenes and fragments have specific functions in the implementation of the author’s directorial ideas. They create a certain atmosphere of a scenic episode of drama performance. Some of them define individual characteristics and their relationship to the play events. There are dances, linking the past and present performance. Some dancing episodes can transform the space of drama performance. A choreographic component intensifies original points of emotional tension of the certain performance scene or its fragment. Different modern choreography trends and its varied vocabulary are rather actual for nowadays dramatic performance. The dance episodes using the varied elements of modern choreography are rather expressive and “convenient” in staging work for producers and choreographers. Some modern dance has some characteristics which brings it together with dramatic acting. Relative freedom from harsh choreographic canons and strict rules and ability to improvise are important points of contact of the dramatic way of being and dance. This success proves the performances of Kemerovo Regional Drama Theater: comedies “Boing-Boing”, “The Smart Wedding”, and drama-parable “The Story of One Soul”.

101-105

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 materials of a long-term study of the Old Believers-Semeiskie services (Old Believers of Bichursky district, Buryatia) are summarized in this study. The author used an integrated research approach, that allowed to combine historical, aesthetic, cultural and musical-theoretical methods of studying the object. Moreover, methods worked out by field ethnography and archeography were widely used at the materials collection stage. The analytic apparatus of the study was formed under the influence of the Russian medievalists works: Kazanceva T.G., Polozova I.V. et al. [1; 2; 10].During many years of expeditionary activity, the author has been recording particular Old Believers services, that were later comprehensively analyzed in this paper. As a result, the features of the traditional service’s structure are revealed. Old Believers-Semeiskie “genetically” refer to “Popovsky” branch of the Old Believers, but due to various circumstances, most communities do not have clerics, which led to a significant impoverishment of the service’s ritual side, as various actions and ordinances that only a priest can perform, and even entire sections of the service were excluded from the ritual practice. At the same time, some of the historical events, in particular, church reforms at the turn of the 14th – 15th centuries and the middle of the 17th century influenced the order of the Old Believers’ Service. This study pays special attention to the musical and stylistic component of the service. The lack of professional singers in the communities has led to the fact that many service sections, proposed by the singing statute, are often performed as a “Chitok.” Antiphonal and respondent singing in their turn almost completely fell out of use.

113-120

Authors: Liu Zhe, Postgraduate, Department of Musical Education, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation; Baotou, China). E-mail: galkax@mail.ru

The article is devoted to the study of the role of the cycle 24 Preludes and Fugues, Op. 87 by Dmitri Shostakovich in the composer’s heritage and in the world musical culture. As a material the theoretical works of outstanding Russian musicologists (S. Skrebkov, K. Ajemov, L. Mazel, V. Bobrovsky, A. Dolzhansky, V. Zaderatsky, M. Etinger, I. Kuznetsov and others), researchers of the 2000s (I. Vasiruk, G. Ovsyankina, S. Nadler, M. Buleva, M. Chernaya) and the analysis of the notation text of the cycle Op. 87. The work demonstrated the dynamics study of 24 Preludes and Fugues of Shostakovich from the 1950s, up to the 2000s. On the basis of theoretical, stylistic, intertextual and semantic analysis, it is proved that Opus 87 became a generalization of all Shostakovich’s style achievements. It concentrated and originally developed all the traditions that fed the composer’s work throughout his life. In this work, Shostakovich enters into a dialogue with the huge layer of musical culture that is close to him. D. Shostakovich’s cycle became a creative impulse for creating the whole series of polyphonic cycles by Russian composers in the second half of the 20th century: 24 Preludes and Fugues by R. Shchedrin, 12 Preludes and Fugues by K. Karaev, 34 Preludes and Fugues by V. Bibik, 24 Preludes and Fugues for Guitar by I. Rehin, 24 Preludes and Fugues by S. Slonimsky and others. He was the translator of the brilliant ideas of J.S. Bach in a new era.

126-133

Authors: Xia Junwei, Postgraduate, Department of Musical Education, Herzen State Pedagogical University of (St. Petersburg, Russian Federation; Changchun, China). E-mail: galkax@mail.ru

The article is devoted to the establishment and development of the national choir music in China in the first part of the 20th century. Leaning on a big complex of literature reflecting historical implication and music specificity of that period, the author analyzes formation stages of the national choir music that would be leading to creation of grand choir works and national operas. It is noted that in origin and development of choral culture in China the important role was played by key historical events of country life: strengthening the contacts with the West, Sinkhay revolution, Movement of May 4, Anti-Japanese war, Civil war, formation of the People’s Republic of China, etc. Two main stages are allocated: they are prior to the beginning of the 1930s and two decades of the 1930-40s. At the first stage, the role of “school songs” is especially allocated. Li Shutong – one of the leading authors of this genre – his creativity is separately studied. From the 1930s the mass choral song had been devoted to a subject of rescue of the Homeland from the Japanese invaders, at the same time, it also had become the main genre. Large choral genres accustom: cantata “Eternal Regret” by Juan Tszy. The first half of the 20th century is considered as the leading period in formation of the Chinese choral music. The author draws conclusions about features of the aesthetics and the musical form and choir works’ subject matter of this period.

140-148

Authors: Kazakov Evgeniy Fedorovich, Dr of Culturology, Professor, Professor of Department of Philosophy, Kemerovo State University (Kemerovo, Russian Federation). E-mail: kemcitykazakov@mail.ru

The article attempts to define the concept of “soul of Russian culture” through its correlation with the concepts of “Russian culture”, “Russian soul”, “Russian (national) character”, “Russian mentality”. The soul of Russian culture carries both: general (characteristic of other cultures) and special (due to the uniqueness of its geopolitical position and historical path). The concept of “Russian culture” is broader than the concept of “the soul of Russian culture” since, in addition, it also includes the “body” of culture. The “the soul of Russian culture” concept means the ultimate, original, bearing the originality of Russian culture, the level of worldsense and worldview. National character, a mediator between emotional experiences and human actions, updates and acquires efficiency, reality through its spiritual experiences. In contrast to the Russian (national) character, which carries, to a greater extent, the features of the national psyche (aimed at inclusion in the Earth), the concept of “the soul of Russian culture” carries a metaphysical component (including it in the heavenly dimension), presenting its essence of the deepest order. In contrast to the national character, mentality is a much more reflexed way of understanding the world. Russian national character and Russian mentality appear as two sides of the psyche of the Russian ethnic group. The concept of “the soul of Russian culture” is wider in terms of the concept of “Russian mentality” as it includes, in addition to rational-irrational and over-rational. The deeper (in contrast to the Russian national character and Russian mentality) features of Russian culture are focused in the concept of “Russian soul”. The concept of “soul of Russian culture” is a broader concept of “Russian soul” as it includes (in addition to the ethnic characteristics of the Russian people) components: “Appolo” “Faust” and “Magic” souls.

155-162

Authors: Bedina Natalya Nikolaevna, PhD in Philology, Associate Professor, Associate Professor of Department of Culturology and Religious Studies, Northern (Arctic) Federal University named after M.V. Lomonosov (Arkhangelsk, Russian Frderation). E-mail: bedina-nat@yandex.ru

The Russian emigration scientific and spiritual heritage of the 20th century does not lose its relevance in the national culture of the last three decades. In recent years, in a series of Russian emigration figures the identity of Protopresbyter Alexander Schmemann has been attracting more and more interest. His analytical, homiletic and diary works have become the subject of serious discussions in the scientific and ecclesiastical environment. This article purpose is to identify Alexander Schmemann insight of the “Sacred Space” problem in the Christian tradition in his views on the cultural and historical development of the Orthodox Liturgy and the liturgical piety. The matter of the “sacred spaces” creation as a special creativity kind in medieval Europe (in M. Lidov’s terminology it is hierotopy) is one of the most actively developing in the medieval studies and the cultural studies in the 21st century. The space symbolization and sacralization are interpreted as an integral part of the Christian religious worldview, sometimes as its foundation. In this context, Alexander Schmemann’s ideas are of particular importance. The author focuses on two nontrivial theses of P. Alexander as a liturgist and theologian. The first is that the basis of the “sacred space” iconic perception is not so much in the Christian liturgical and ideological tradition but in the Hellenistic mysterial religiosity of the pagan world. Comparing the early Christian Liturgy with contemporaneous with it worship by the Jewish and Hellenic mysteries, P. Alexander presents a strong case that the early Christian tradition was fundamentally indifferent to the organization of sacred space. The second thesis is a logical continuation of the first one: the growth of mysterial tendencies in the church life, the emphasized iconicity in the “sacred spaces” creation leads to the narrowing and simplification of the Christian idea, of the initial experience of Christian eschatology. It testifies to a deep crisis of religious Christian consciousness.

170-174

Authors: Ryabtseva Vaselina Aleksandrovna, PhD in Culturology, Associate Professor at the Department of Culturology, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: vaselina21@ mail.ru

In article the current state of church and singing traditions of belokrinitsky hierarchy of Novokuznetsk is considered. The current state of musical culture of Old Believers of Western Siberia can be tracked through activity of chorus of singing Old Belief parishes of Siberia, the participant whom the lake Igor Mylnikov Virgin “All grieving joy”, today the only center of Belokrinitsky hierarchy in the territory of the Kemerovo region, Novokuznetsk. Members of community are as descendants of conservatives-popotsev, conservativesbespopovtsy, immigrants from other regions also new converts who in turn kept “the” options of tunes, considerably different from local traditions. On great church holidays of parishioners there are more than seventy, the tendency of a gain of the younger generation is also observed, and it speaks about updating, rejuvenation of structure of community and about further maintaining liturgical traditions. O. Igor thinks of traditions of church singing much that positively affects its preservation in this consent. The prior of arrival musically educated person owning a hook notation. Church services are sung on banners from new and ancient books. Parishioners, generally do not own a hook notation therefore they sing “on a napevka”, for memory. Execution of liturgical texts a napevka means execution of chants according to the oral version accepted in community, but not according to hook books. By results of a research it became clear now that in liturgical life of belokritsky consent of the Kemerovo region positive dynamics in activization of singing practice is observed. Interest in development of a hook notation, the principles of its execution is noticeable, all this leads to reconstruction attempt, but not about revival of singing traditions.

184-191

Authors: Tkacheva Natalya Nikolaevna, PhD in Politics, Associate Professor of Psychology and Education Department of Art and Humanity School, Far Eastern Federal University (Vladivostok, Russian Federation). E-mail: nataltk@mail.ru Tkachev Sergey Viktorovich, PhD in Politics, Head of Polytechnic Museum of Educational Scientific Museum of Art and Humanity School, Far Eastern Federal University (Vladivostok, Russian Fedration). E-mail: sertk@mail.ru

In the 19th century, the Chinese began to spread to the Ussuri region. In this territory by that time a very small aboriginal population lived, whose main occupation was hunting and fishing. The arrival of migrants from China was accepted with curiosity and kindly, but gradually it provoked the emergence of complex ethnic processes. Here we meet a rather rare case of ‘male’ migration with numerically overwhelming the local community. In such a situation, aborigines assimilate rapidly but only the ‘male’ part of the culture is introduced to special economic conditions, tools, laws, religious beliefs, etc. The purpose of this article is to trace the cultural influence of the Chinese on the Aboriginal in the pre-revolutionary period. The authors concentrated their attention on issues that are very sensitive to any ethnos during the period of active transformation. This is a change in ideas about the surrounding world and its place in it, sharp modification of the social structure of the usual society, emergence and reaction to new cultural and socio-economic challenges. As a rule, scientists considered these issues from the point of view of the negative influence of the Chinese on the Aboriginals of Ussuri region. In the article, the authors showed that with China’s truly overwhelming cultural influence on the Aborigines, yet the notion of the Chinese, as exploiters of local residents did not always correspond to reality. In this paper, the information was used from a little-known monograph by S. Brailovsky (1902) and mostly unpublished field diaries of V. Arsenyev (1906-1909).

196-203

Authors: Putra Violetta Anatolyevna, Instructor of Department of Choreography, Crimean University of Culture, Arts and Tourism (Simferopol, Russian Federation). E-mail: Profi-vita.75@bigmir.net

The paper is devoted to the role of the unconscious in development of modern culture. The specific role of unconscious processes in the entire mental life of a person is convincingly shown in works of representatives of the psychoanalytic school (C. G. Jung, A. Adler, H. Marquez, E. Fromm, V. Reich, T. Adorno, M. Horkheimer, J. Lacan). The relevance of addressing the issues of interaction between the unconscious and culture is due to the need to study the symbolic sphere of artistic culture and active integration of various fields of knowledge in order to conduct some interdisciplinary research. We consider it necessary to include a broader cultural context in the field of research: English and German fiction, massively popular movies. The object of the study is artistic culture of the 20th century; the subject is role of the idea of the unconscious in the development of artistic culture of the 20th century. The aim of the study is to reveal the constructive influence of the idea of the unconscious on the development of artistic culture of the 20th century. We used the system-structural method providing the multidimensional analysis of culture as complex set of the interconnected elements and also the hermeneutic method of text research for interpreting some texts of art culture – some English and German literature and movies. The influence of the psychoanalytic tradition, founded by Z. Freud and actively developed by his followers, widely spread in the Western culture in the 20th century. We can trace basic provisions of psychoanalysis in one or another creative interpretation in art, literature and cinema. Without a doubt, the influence of psychoanalysis on culture will continue in the future.

207-212

Authors: Feofanova Olga Aleksandrovna, Director of the Kemerovo Regional Museum of Local Lore (Kemerovo, Russian Federation). E-mail: feofanova42@yandex.ru Rodionova Darya Dmitrievna, PhD of Philosophy, Associate Professor, Department Chair of Museum Sciences, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: kafedramd@ yandex.ru

Modern directions of development of higher museological education and state policy in this area require that the university community regularly improve approaches to preparing not only a competent, fully erudite intellectual, but also an employer-required practice. Currently, the issues of professional competence and, at the same time, the nature of educational programs for personnel training the museum specialist are widely discussed. Today, at all levels, the requirements for the museum professional are being discussed, professional standards are being developed, work is underway to introduce them in the educational and professional activities of the museologist. The authors of the article consider specific examples of project development in the framework in various areas of training on the basis of Kemerovo State Institute of Culture for the Kemerovo Regional Museum of Local Lore. It is substantiated that, in the context of the modernization of higher education, training of museum specialists becomes effective, taking into account the modern “triple helix” model. As one of the leading museums in Kuzbass, the Kemerovo Regional Museum of Local Lore is for the creation and implementation of students’ projects aimed at preserving and updating the historical, cultural and natural heritage, which is particularly conducive to professional self-determination and professional selfadaptation, which together allow to get a professional museologist in demand in the labor market.

30-39

Authors: Leonova Natalya Vladimirovna, PhD in Art History, Associate Professor, Acting Professor of Ethnomusicology Department, Novosibirsk State Glinka Conservatoire (Novosibirsk, Russian Federation). E-mail: nleonova53@mail.ru

The article describes a new research project aimed on the problem of typological and comparative research of song traditions of the old settler Russian population of Siberia. Serious studies on these folk musical systems are currently absent which indicates the relevance of the initiated scientific project. The project concept assumes a complex description of several local traditions and their comparison among themselves according to a unified number of positions. As the base for the study, the author chooses those areas of residence of the Russian population, which, firstly, on the paths of peasant colonization of Siberia in the 17th and 18th centuries oriented to river basins (Tobol, Irtysh, Ob, Yenisei, Angara, Lena) and, secondly, to the greatest extent provided with material for analysis. Then the author describes the main, most qualified collections of published and archival manuscript music scores, audio recordings of folk songs for each of the allocated areas of study. Among them the publication of such collectors of Russian folklore of Siberia as A.M. Mekhnetsov, V.G. Zakharchenko, S.I. Pushkina, V.M. Shurov. A number of audio recordings is concentrated in the Archive of Traditional Music of the Novosibirsk Conservatory and in other folklore archival collections of Siberia. The presence of a number of folksongs should ensure reliability of analytical results of the scientific project. The obligatory textological preparation of musical notations precedes the complex description, analysis and comparison of songs. The positions of the complex characterization of regional musical and folklore systems are based on the card elaborated earlier for describing local song traditions. The results of the complex description are then studied with the use of typological and comparative methods for determining common (universal) and specific principles of organizing the local song traditions.

50-58

Authors: Petri Elvira Korneevna, PhD in Art History, Instructor, Arzamas Music College (Arzamas, Russian Federation). E-mail: e-petri@mail.ru

The task of the research is to characterize the German songs of the “circle of the day” and to identify the features of this genre. The term “picture of the world,” which is often used in humanitarian studies, includes a different understanding the phenomenon of time. The German culture is referred to as monochronous; time here is linear and divided into shorter segments than in the Russian culture: polychronous. This understanding of time leads to the emergence of musical genres that are absent in Russian music. Sound signals that mark time are more versatile than visual, they are available at any time of the day (unlike, e.g. a sundial). In medieval cities, time signals were played by urban musicians, most of whom were trumpeters. During the processions of the citizens of the trumpet accompanied by the singing, so the music gradually fixed intervals, characteristic of wind instruments at the same time with the semantics of the signal. The sound is often accompanied by a verbal “marker”: Wachet auf

66-72

Authors: Zhu Linji, Postgraduate, Department of Musical Upbringing and Education, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation). E-mail: 534366380@qq.com

From the 1950s and up to the mid-1990s, the use of Western musical concepts in China was at the experimental stage, and the newest ideological trends with powerful modern Western flavor could not find support in musical circles that set the direction for the development of Chinese opera. Nevertheless, the creative search for Chinese composers led to major changes in the genres of modern Chinese opera in the 21st century, in the end, led to the creation of the opera of the “New Trend” (beginning with 1990s). At this time, the post-modern musical art gained particularly rapid development in China, which led to enormous changes in the techniques of writing, genres and styles of opera, new works began to drastically differ from the classical “serious” opera and the Chinese national opera. At the same time, the chamber opera began to develop most rapidly: works having small volume but deep content began to embody the most popular form of opera in the musical world of China.The object of study in this article is the development of opera of the “New Trend” in China, and its content is mainly devoted to the problems and obstacles that this genre encountered in its development, as well as in the active creative search of Chinese composers. In addition, the author analyzes the artistic features of the chamber opera “The Risky Game” composed by Wen Deqing, revealing how the Chinese composer managed to rationally use the techniques of Western postmodern music, while at the same time harmoniously incorporating elements of Chinese ethnic music into the composition.

78-83

Authors: Kiryanova Darya Aleksandrovna, Instructor of Musical Theoretical Disciplines, Kaliningrad Regional Musical College named after S.V. Rachmaninov (Kaliningrad, Russian Federation). E-mail: odincova_darya@ mail.ru

The article deals with the personality and work of the Soviet composer of Italian origin. Antonio Spadavecchia is the author of many works for the musical theater, music for movies and chamber-instrumental compositions. The works of A. Spadavecchia, who left an impressive musical legacy, now practically are not performed. The article presents information from the biography, memories of the spouse and relatives, characterises the composer’s opera creativity. One of the earliest experiments in the field of the opera genre A. Spadavecchia was the Opera “Akbuzat” in three acts with prologue, which was written in 1942 in Ufa based on the same Bashkir epic together with student of the Bashkir Studio at The Moscow Conservatory H. Zaimov on the libretto by S. Miftakhov. In 1948, “The Landlady” was written, the opera on the comedy of C. Goldoni, which continued lyric-comic line “Betrothal in a Monastery” by S. Prokofiev. In 1974, Spadavecchia turned to the genre of monodrama, as the author of nine large opera scores. In the chamber opera, he sought a way out of a circle of monumental themes. The composer wrote libretto of the opera based on the novel by S. Zweig “The Strange Lady’s Letter.” The most famous was the opera “Gadfly” in the four day effects, seven scenes. The libretto was based on the eponymous revolutionary novel by British writer E.L. Voynich, dedicated to the activities of the underground revolutionary organization “Young Italy” in the first half of the 19th century and, in particular, the history of young revolutionary Arthur Burton.

93-101

Authors: Yudin Aleksandr Naumovich, PhD in Art History, Associate Professor, Associate Professor of Department of Musical Instruments Training, Herzen Russian State Pedagogical University (St. Petersburg, Russian Federation). E-mail: u_rojala@mail.ru

The gamut of outstanding pianist Sviatoslav Richter’s achievement was virtually unlimited. Vivid temperament, subtlety of sound nuances and unbelievable technical mastery made him one of the most brilliant solo pianists of the 20th century. As well known is his gift as an ensemble performer who in this quality performed alongside most diverse instrumentalist partners. The present article addresses a very special aspect of his artistic achievement, which with a degree of convention may be called “Sviatoslav Richter’s Third Profession,” namely, his concertmaster’s practice. Over his career, the pianist cooperated with many singers including N. Dorliak, G. Pisarenko, D. Fischer-Dieskau and many others. The extant audio and video recordings and the pianist’s numerous own utterances show that this sphere made an important part of his life. Of special interest in this connection are Richter’s diary entries, where he often discusses at length specific features of accompanist’s profession. Despite the subjective character of the author’s opinions, such entries are a most important source to deduct his artistic aspirations and his specific understanding of the concertmaster’s profession. All this will naturally contribute to the available knowledge of the Russian performance history. The publication may likewise be useful to graduate and postgraduate students whose studies pertain to vocal music or accompanist’s art. It is noteworthy, that despite this pursuit of the musician was seen, it was not thoroughly examined or made a part of a teaching course. Therefore, the present article is one of the sections in the teaching course “History and Theory of Concertmaster’s Art” and the first attempt to look into the working laboratory of Richter as an accompanist providing the additional clues to the master’s achievement.

105-109

Authors: Loseva Svetlana Nikolaevna, PhD in Psychology, Associate Professor of Department of Music Education, Irkutsk State University (Irkutsk, Russian Federation). E-mail: Loseva@bk.ru

Consideration of the problem is based on the analysis of diverse data on the description of the historical aspect of the development of scientific knowledge of musicality as a structural component of musical endowments and the concept of synaesthesia. In the course of research work, an analysis is given of various approaches to the definition of the term musicality, in which the most significant tendencies in the formation of a holistic view of the various semantic dimensions of a given phenomenon are determined. In the article, various approaches are considered in the study of the structure of musical endowments and its components. Musicality, as a fundamental and system-forming component, is analyzed in various interpretations of scientific research. When considering the synesthetic mechanism in musicality, the inter-sensory form of the manifestation of musicality in the musical-artistic consciousness is emphasized. The historical aspect of the phenomenon of synaesthesia is being developed with the construction of a color-sound correspondence: the establishment of color-musical parallels in Newton’s research in determining the correspondence between the seven colors of the spectrum and the seven sounds of the scale based on the physical (wave) nature of color and sound, the psychological nature of N. Rimsky-Korsakov’s “color hearing,” the phenomenon of synaesthesia in B.M. Galeev’s study as the ability of the psyche to correlate the images of different modalities and associations. There is a close relationship between musicality and synesthesia.

121-126

Authors: Slesar Evgeniy Aleksandrovich, PhD in Art History, Associate Professor of Department of Production of Theatre Performances and Festivals, St. Petersburg State University of Culture (St. Petersburg, Russian Federation). E-mail: evgeniy.slesar@gmail.com Pozdeev Nikolay Yuryevich, Associate Professor of Department of Direction and Acting Technique, St. Petersburg State University of Culture, Honorary Artist of the Russian Federation (St. Petersburg, Russian Federation). E-mail: zart2001@mail.ru

The article is concerned with artistic and aesthetic significance of an artist’s diary in professional becoming the actor and it focuses on the evolution of artistic status of an artist’s diary. The relevance of this article is determined by significant featuring the artist’s diary in theatre pedagogics. Evolution, structure and functions of an artist’s diary in professional becoming the actor and director are distinguished. The article is aimed at determination of artist’s diary fluid structure and study of its artistic purpose. The article is based on didactics and methodology concerned with educational strategies in the field of acting and directing education, and it is also based on art literature reflecting the present-day theatre situation. Evolution and structure of an artist’s diary and its significance in the professional becoming the actor and director are featured in this article. This article is based on study of the artist’s diary in director and actor’s activities of K.S. Stanislavski, E.B. Vakhtangov, Y.A. Zavadsky, B.E. Zakhava, B.V. Sohn, Z.Y. Korogodsky. The methodology of this research is based on cultural and historical, and comparative methods elaborated by the native theatre studies. As a result, structural changes in the artist’s diary, its functions and criteria in theatre pedagogics are distinguished. To sum up, it should be said that entering the theatre field, the very diary begins to take drama form conveyed in dialogism, collectivity, agonistic character, blurring the lines between personal and public, procedural character, introduction the game practices into keeping the diary and dualism of perception and objectiveness. Thereby, it becomes a playing field for theatre arts.

135-145

Authors: Podgornaya Ekaterina Arturovna, PhD in Philology, Associate Professor of Department of Humanities, Plekhanov Russian University of Economics (Kemerovo branch) (Kemerovo, Russian Federation). E-mail: podgornaia.ea@kemerovorea.ru Demidenko Kseniya Anatolyevna, PhD in Philology, Associate Professor, Associate Professor of Department of Humanities, Plekhanov Russian University of Economics (Kemerovo branch) (Kemerovo, Russian Federation). E-mail: demidenko.ka@kemerovorea.ru

One of the urgent problems of modern education system in Russia corresponds to the strategic tasks faced by the country. Being the integral part of the global strategy, development of Russia’s international relations is impossible without broad intercultural communication. Significant experience in teaching foreign languages has been accumulated in local educational tradition. At the same time, modern world requires intensification of this sphere of knowledge. The purpose of the research is to analyze development of the systems of intensive foreign language studies in Russia. The main tasks are to study the development of teaching the foreign languages in prerevolutionary Russia and consider the evolution of teaching the foreign languages in the USSR. The article is based on basic theoretical methods of scientific research (analysis, synthesis, historical method, etc.). In prerevolutionary Russia intensive methods of teaching the foreign languages developed and were applied to a limited extent in both, state educational institutions and in private ones, as well as in private practice. In the USSR the state system of language education was gradually built up. Concerning the techniques of teaching the foreign languages in the USSR, there were traditional, communicative, and self-devised (combining traditional methods and communicative techniques with elements of creative comprehension of the language) methodologies. One of the main reasons for slow introduction of intensive methods of studying the foreign languages in Russia over the past 150 years, in our view, lies in the institutional field. As a result of the study, the advantages and disadvantages of the system of language education and the conditions for increasing its competitiveness were introduced.

150-156

Authors: Moiseev Evgeniy Olegovich, Postgraduate, Department of Methodology and Technology of Music Education Pedagogy, Moscow State Pedagogical University (Moscow, Russian Federation). E-mail: masterofstyle89@mail.ru

This article presents the main types of electronic educational training resources, reveals the essence and structure of the information-educational space, designates the role of electronic educational resources in enhancing students’ independent work. In the modern development of the Russian education system, the main aim should be modernizing the higher pedagogical education, providing the necessary quality of higher pedagogical education on the basis of preservation of its fundamentality and corresponding to prospective and actual needs of the individual, society and the state. The role of information and communication technologies in education is constantly growing. We also observe the processes of improvement, complication and expansion of opportunities in the field of application of electronic educational resources. Extremely topical is the scientific comprehension of these phenomena, both – in general pedagogy and in industry pedagogy – when teaching singing. This is where systematization and ordering are needed, since many problems and tasks are facing the teacher today: the pop vocalist and his wards need their solution. And if the essence and structure of the information and educational space are disclosed in the educational system as a whole, the main types of electronic educational resources are shown in activating the independent work of students, then the possibilities of using the electronic educational resources in the process of teaching the singing of adolescents require a separate, purposeful study. The need for a scientifically grounded and methodically verified transition from traditional models and technologies oriented to the needs of an industrial society to new installations that make it possible to optimize the process of learning the solo singing meets the needs of a modern, informatized society. The formulated problems are solution of which will allow to overcome this problem. They are optimization of information and technological support of the learning process, development of adequate criteria and diagnostic apparatus to ensure the effectiveness of the learning process, etc.

162-167

Authors: Sergeeva Anna Aleksandrovna, PhD in Pedagogy, Associate Professor, Associate Professor of Psychology Department, Murmansk Arctic State University (Murmansk, Russian Federation). E-mail: aser2001@mail.ru

The article reveals the relationship between the ethnic group and cultural heritage using Komi people’s national art as an example through the prism of psycho-pedagogical opportunities of epic, decorative and applied, musical and folklore art. Uniqueness and identity, originality and creativity of Arctic region’s ethnic traditions let define their impact on the formation and development of cognitively motivational and emotionalvolitional areas of growing-up generation’s personality. Characteristics of ethnic self-awareness as a special indicator of children’s personality individualization are given, which discover constructive opportunities for learning about the environment, process of socialization, expansion of the worldviews and philosophical visions’ range.Different kinds of ethnic art and creativity within the Kola Peninsula are characterized. The main factor of the ethnocultural processes of Komi people is the integration of Komi Izhemi, Russian and Nenetz people’s culture. Komi culture is expressed by special national symbols: epic tradition identifies two different kinds: Vychegod-Vym ballads, Andizh-Kolvin tales; small folklore forms: fairytales, mysteries, nursery rhymes, hideand- go-seeks, tongue twisters and proverbs. Traditional family values: reverence of the older family members, help to the younger children, deep respect of the parents are projected on masterpieces of decorative and applied, folklore Komi art. Family techniques of embroidery, dressmaking, doll making and jewellery making, making of utensils and little furniture contribute to development of moral qualities and personality characteristics of a child, familiarize with the formation of life values and priorities’ hierarchy. Ethno-pedagogical and ethno-psychological features are defined, as well as opportunities for traditional art of northern Komi within Russian Lapland, which stimulate the formation of nation-ethnical indulgence, respect and tolerance.

176-182

Authors: Naumenko Olga Nikolaevna, Dr of Historical Sciences, Professor, Ugra State University (Khanty- Mansiysk, Russian Federation). E-mail: oolgann@mail.ru

In article on the basis of cultural-historical psychology and the analysis of a unique collection of decorative and applied art of the 17th–21st centuries the processes of transformation of the Ob Ugrians’ culture of shamanism are discussed. This led to the formation of the people with syncretic culture, the Ob-Ugric Istiaks. The action of the frontier, which moved it from the countries of Islam, as well as through contacts with the Siberian Tatars, led to the enrichment of the culture of the Ob Ugrians due to the rapid process of external borrowing. The authors note that the Ob Ugric people was formed under conditions of “poor living environment,” was originally prepared for a cultural transformation in the framework of the adoption necessary for the survival of norms. The article emphasizes that the Orthodox missionaries were late in relation to these groups of the Ob Ugrians, as by the 18th century, Islam in the regional version has become part of their spiritual and daily life. In addition, unlike Islam, Orthodoxy did not provide the necessary degree of survival in the difficult conditions of the Siberian North. Evolutionary processes have led to merging the Istiaks and Siberian Tatars, which became one of the ways to acquiring the latest sustainable features of the Ugric culture. The author analyzes the decoration feloni on the wooden sculptures of Nikolai Mozhaisky of the 17th century. He compares them with the ornaments of indigenous peoples of the North, Christian and Muslim cultures. Attention was drawn to the chess ornament used by the missionaries. In the process of analysis several hypotheses of its origin are put forward from the connection with the Greek Orthodox and Masonic cultures to the reflection in it of northern traditions and the Muslim giriha in its Siberian variant.

187-196

Authors: Ishutina Yuliya Aleksandrovna, PhD in Culturology, Associate Professor, Chinese Department Chair of the Oriental Institute, School of Regional and International Researches, Far Eastern Federal University (Vladivostok, Russian Federation). E-mail: ishutina.yua@dvfu.ru

The article is devoted to the transformation of the status of women in both parts of modern China. The science idea is that changes in the social status of a woman depend not only on the starting conditions: place of birth, available educational environment, personality and character features, will and desire to win over circumstances, but, to a large extent, family as the primary social institution of Chinese Confucius society. Social mobility allows the Chinese woman to feel herself a modern woman, to realize her creative potential and professional interests, both, significantly expand her duties related to the change in status acquired by internal freedom, limited by Confucian understanding the body affiliation. The most sensitive prohibitions arise where the nuclear family disintegrates, and the role of the outside observer is assigned to the woman, since the child born in the father’s clan often remains there after the divorce. This cultural phenomenon is normal, although the global culture considers such an outcome of women’s rights. The accelerating rhythm of life introduces significant changes concerning the gender relations within the Chinese family and, at first glance, it may seem that the spouses are not only equal, but the advantage is assigned to women who make their choice on their own based on reasons of benefit, personal interest and love. However, the more obvious the problem of gender misbalance in mainland China becomes, the more noticeable is the part of the Confucian essence of relationship: a traditional wealthy man is able to organize his living space on the basis of considerations of the usual polygamous way, although such behavior is considered a violation from the legal point of view. Hence the well-known limitation of a woman’s personal freedom, which is still defined as belonging to the family and clan.

204-213

Authors: Tkacheva Natalya Nikolaevna, PhD in Politics, Associate Professor of Psychology and Education Department of Art and Humanity School, Far Eastern Federal University (Vladivostok, Russian Federation). E-mail: nataltk@mail.ru Tkachev Sergey Viktorovich, PhD in Politics, Head of Polytechnic Museum of Educational Scientific Museum of Art and Humanity School, Far Eastern Federal University (Vladivostok, Russian Fedration). E-mail: sertk@mail.ru

Since the Ussuri region joined the Russian Empire in 1860, the Chinese was considered by authorities exclusively as a

219-229

Authors: Feldt Irina Nikolaevna, PhD in History, Associate Professor, Department of Culturology and Religion, Northern (Arctic) Federal University named after M.V. Lomonosov (Arkhangelsk, Russian Federation). E-mail: i.feldt@narfu.ru Egorova Ekaterina Nikolaevna, PhD in Philology, Associate Professor, Department of Culturology and Religion, Northern (Arctic) Federal University named after M.V. Lomonosov (Arkhangelsk, Russian Federation). E-mail: ruslit1611@yandex.ru

Studying the naming allows to reveal culturological value of names and communicative strategies and tactics specific to the nomination field. The urbanonyms characterize the onomastic space of a modern city and reflect active language processes. The research data base includes more than 1000 names of objects in Arkhangelsk. According to the constructive direction which integrates different paradigms of knowledge, urbanonyms were analyzed from the perspective of a multidimensional approach. An anthropocentric principle shows substantial and methodological aspects of the nomination research taking into account the existing oppositions of socio-cultural situation. A structural-semantic approach helps to determine specifics of regional trends. A communicative approach helps reconstruct presuppositive meanings and designate pragmatic effect, as well as discover the mechanism how linguistic (speech) form of urbanonym depends on the author’s intention (e.g. the use of word play that is the intentional deformation of sustainable structures). During urbanonyms’ analysis, the All-Russian naming trends typical for modern Arkhangelsk were considered. At the same time, the regional specifics of naming were outlined which main factors are socioeconomic causes and its socio-cultural consequences. In the article, the prospect of the All-Russian trends and regional specifics matching is designated. Along with that, possibilities to use it in the descriptions for culturological study of Arkhangelsk onomasticon are shown. This analysis uncovered that most of the names are generated according to several productive models-oppositions: for example, synchrony – diachrony, formality – informality, etc. In practical terms, the results of this study can be used in the university courses “Linguoculturology,” “Onomastics” as well as in practice of conducting the examinations in the field of naming. The article contains a description of specific linguistic mechanisms and creative techniques used in naming. The study also analyses the use of certain terms from urbanonymic field.

237-246

Authors: Andreeva Elena Anatolyevna, PhD in History, Head of Research Department, M.B. Shatilov Tomsk Regional Museum (Tomsk, Russian Federation). E-mail: nurrikissam@list.ru

The paper focuses on findings from the scientific and practical research of a photographic collection of the Tomsk Society of Siberian Studies (1909–1917), which was donated to the Tomsk Regional Museum in 1923. Being related to the analysis of iconographic sources, the subject of the study relates to context of humanities current trends, including the adoption of “visual turn” techniques. The paper outlines and validates the criteria that serve as a tool for studying the composition of the collection and identifying its items in the museum, which is the purpose of the study. Based on the analysis of photographs, archival documents and other publications of the early 20th century, the contents and sources of the collection were established. One of the sources of the Society’s collection was an exhibition held in Tomsk in 1911, in which amateur photographers from all over Siberia took part. The Society’s collection included photographs taken during research expeditions by G.N. Potanin to Mongolia (1899), by surveyors of the Omsk Military District to the Altai (1907, 1909), by groups of exiles, who examined the Paidugina River in the Narym Region, etc. A consistently designed series of professional photographs with views of Yenisei and Irkutsk provinces make up a significant part of the collection. They were designed not only as a source of information, but also as souvenirs. The collection covers the south of Western, Middle and Eastern Siberia, the Far East and the northeastern part of Mongolia. The paper highlights A.V. Adrianov’s part in arranging the collection. It is concluded that the collection is of historical and cultural value despite the fact that it has not been completed.