Vestnik KemGUKI

13-21

Authors: Morozov Evgeniy Mikhaylovich, PhD in Sacred Theology, Vice-rector of Tomsk Orthodox Theological Seminary (Tomsk, Russian Federation). E-mail: tigriso@mail.ru

The article deals with the reaction of The Russian Orthodox Church to modern trends in dramatic and cinematographic art in connection with its influence on moral state of the Russian society. Concern for the spiritual formation of young people encourages clergy to express their attitude publicly to the development of contemporary art as a key factor in the socialization of the younger generation. The protest of the Orthodox community against theatrical productions and films, in which religious symbols are presented in an offensive manner to believers, is perceived by a certain part of the liberal intelligentsia as an unlawful interference of the Church in secular life. The dogmatic nature of the Patriarchate’s official appeals to cultural institutions, involvement of the law enforcement as a force to combat undesirable, from the point of view of religion, creativity are all the results of the lack of direct dialogue between the clergy and representatives of the art sphere. The author concludes that the Church will be able to strengthen its position as a moral expert in the field of art by raising the level of competence of the clergy in matters of artistic creativity. It is possible to reach a higher level of dialogue and cooperation, provided a new format of interaction is created in which the clergy and intellectuals can discuss the spiritual and moral issues of modern culture.

27-33

Authors: Biryukov Sergey Vladimirovich, Dr of Political Sciences, Professor, Professor of Department of General History and Socio-political Sciences, Kemerovo State University (Kemerovo, Russian Federation). E-mail: birs.07@mail.ru Barsukov Aleksander Mikhaylovich, PhD in Politics Sciences, Deputy Dean of Faculty of Politics and International Relations, Siberian Institute of Management – Branch of the Russian Presidential Academy of National Economy and Public Administration (Novosibirsk, Russian Federation). E-mail: amb2@inbox.ru

The current situation in Russian Culturology and related Humanities makes the interest in new ideas and approaches that arise on a multidisciplinary basis: for example, at the “junction” of Literary Studies, Cultural Studies and socio-political essays on cultural civilizational and identification topical problems. Research work arising from the synthesis of the experience of various Humanities provides an additional incentive for the development of Russian Culturology as a relatively young but has its own achievements and promising prospects. The question of the influence of cultural factors and civilizational features of different societies on their political development is still insufficiently researched in the Russian Culturology and in the theory of political culture. The experience of a number of Western European countries with a longer development of socio-political journalism on the basis of cultural and civilizational analysis calls for attention and study. Among these countries with a deep tradition of Humanities and Culturology include France, the academic system which was deeply connected with our former compatriot Anatoly Livry. This researcher managed to prove himself as a literary critic, philosopher and socio-political thinker, devoting his work to the topical problems of the development of French and Russian societies. In the framework of the stated problems, the authors of the article analyze his scientific biography, contribution to the study of the theory and History of Russian Literature at the Sorbonne, and especially in modern Vladimir Nabokov’s studies. Special attention is paid to the analysis of Anatoly Livry’s views on the ideological and spiritual origins of the value-ideological and political crises of the modern French Fifth Republic, as well as on possible ways to overcome the current crisis by French society and the state in the context of a possible “conservative revision.”

50-55

Authors: Astapova Kristina Denisovna, Student, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: stina_9@mail.ru Volkova Tatyana Aleksandrovna, PhD in Philosophy, Associate Professor, Department Chair of Philosophy, Law and Social and Political Subjects, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: tatyanaolkowa@yandex.ru

In the context of modern globalization, the problem of diversification is actualized, as the increase in the diversity of cultural communities. Such study contributes to inter-civilization interaction. The most striking example of civilizational uniqueness is the traditional culture of India, deep sociocultural, value bases of which are embodied in its dance art. Identifying them in the process of formation and development of traditional Indian choreography is the main goal of the study. The philosophical and aesthetic content of the stages of classical Indian dance is revealed. “Ancient” phase-mythological, Vedic roots. “Middle” stage filled Indian dance with cognitive dissonance associated with colonial influence. The “newest” stage is the revival and transformation of classical Indian dance. The semiotic features of traditional Indian choreography contribute to a deeper understanding its sociocultural aspects. The original religiosity is evidenced by the traditional Indian costume, which is considered the embodiment of divine origin. In this context, the values of the colors of the costumes of classical Indian dance, the arrangement of ornaments and paintings of hands and feet (mehendi) are studied and presented. An important role in traditional Indian choreography belongs to figure: drawing movement of the body in space, drawing khast, pos. The main figures of Indian dance are comparable with the universal graphic symbols of world cultures: circle is a symbol of beauty and strength, emanating from a sense of unity; triangle is a symbol of balance and harmony, etc. Traditional Indian choreography is a peculiar expression of the Orthodox philosophical systems of India, which can be seen in the comparison of Indian choreography and meditative yoga practices. Thus, traditional Indian choreography, as a system based on specific socio-cultural and ideological grounds, requires involvement in it and a mandatory understanding the traditional worldview of this specific civilization.

61-66

Authors: Grushitskaya Marina Aleksanrovna, Postgraduate, Novosibirsk State Pedagogical University (Novosibirsk, Russian Federation). E-mail: bambuk1331@yandex.ru

Impressionism in Russia failed to develop as an independent trend, but some of its signs can be seen in various genres of arts, including poetry. This article describes the principal characteristics of suggestive lyric poetry and states its impressionist features, thus profoundly characterizing the specific character of Russian impressionism in the late 19th – early 20th century. In the late 19th – early 20th century, the Russian lyric poetry developed various trends, like acmeism, futurism, and symbolism, on the basis of which the author of the article distinguishes suggestive lyric poetry, where impressionist trends are the most pronounced ones, because suggestive lyric poetry is based more on associations and supplementary semantic and intonation nuances than on logical connections. V. Solovyev was the first to introduce the notion of suggestiveness in Russian literature. This article describes the principal characteristics of suggestive lyric poetry and highlights its impressionist features, thus profoundly characterizing the specific character of Russian impressionism in the late 19th – early 20th century. It also reveals such characteristics as: use of a wide range of diverse cultural contexts, special attitude to words in a literary work, compulsory expectations of the background action; the content should be guessed but not be rendered discursively; attention is focused on communication, where the author’s personal point of view takes the leading position, though at the same time it is important to intensify the readers’ perception, which is taken into account in the early stage of the poem creation, thus becoming a structural element of this poem. Finally, the article highlights the significance of the interrelations between suggestive lyric poetry and impressionism, which is an obvious characteristic feature and a natural element of the Russian social and cultural space in the late 19th – early 20th century.

74-80

Authors: Gorelov Artem Valentinovich, Postgraduate, Tyumen State Institute of Culture (Tyumen, Russian Federation). E-mail: gorelovartyom1992@gmail.com Litkevich Yuliya Valeryevna, PhD in Philosophy, Associate Professor, Associate Professor of Department of Sociocultural Activity, Culturology and Sociology, Tyumen State Institute of Culture (Tyumen, Russian Federation). E-mail: yurtaeva@bk.ru

In this article, we actualize naturocentric research paradigm of culture. Hypothesis of this article is in thought that culture is an evolutional instrument and result of evolution of human brain that emerged during adaptation to the environment. By adaptation we mean not only physical adaptation to environment conditions such as climatic, but also psychological adaptation, which is built with social norms, moral values, ceremonies, cults etc. Thereby semiotically meaningful cultural artifacts are the essence and main instrument of transformations human’s natural basis to its social representation. In this way, culture is the result of the evolution of human cognitive processes. The analysis of modern neurobiological and anthropological concepts (of N. Tinbergen, K. Lorenz, W. Hamilton, J. Palmer, L. Palmer, L. Cosmides, J. Tooby, Z. Reznikova, D. Zhukova) shows that cultural traditions are a reaction to physiological phenomena or human behavior, expression of a relation to them. More of that, human cognitive processes are determined with environment and that allows to synthesize in thinking the perception, understanding, representation, imagination. In connection with the analysis of these concepts, it is possible to expand the heuristic potential of naturocentric cultural paradigm, to imbue naturocentric paradigm as one of the fields of modern culturology with evolutionary-biological component, explaining the essence of culture, its genesis, its development mechanism and dynamics. Also in this article it’s clearly shown that in way of naturocentric paradigm revealed via evolutional processes is possible to build interdisciplinary concepts of culture in general and individual phenomena in particular. Conclusion of the article highlights important characteristics of culture from the point of view of naturocentric paradigm such as: culturogenesis, main manifestations, subject of culture, main features, functionality.

85-89

Authors: Shestak Oksana Valeryevna, Researcher, Teacher-researcher in the Sphere of Culturology, Methodist of Municipal Budgetary Institution of Supplementary Education “Children’s Art School ‘Tradition’” (Barnaul, Russian Federation). E-mail: ok_schestak@mail.ru

From the standpoint of culturology, a characteristic of a representative set of sources for studying the image of museums is given in the article for the first time. The purpose of the article is to show the expediency of forming an interdisciplinary approach to the creation and analysis of a source base that reflects the phenomena and processes associated with the image of the museum. Attention is focused on the interdisciplinarity of the concept of image, the development of an interdisciplinary approach to its study, considering the information theory and the new research paradigm of the museum as a component of the documentary and communicative sector of culture. According to the author’s definition of the image of the museum not only constant groups of sources are considered, but also the dynamic resources of the museum associated with them (legal, financial, publicity resources). The collection of sources is presented by the types and methods of encoding information. It is emphasized in the article that while forming an interdisciplinary approach, one should consider the actively expanding space of technotronic documents and objectively evaluate the verbal content. Sources that were used and potential traditional written sources are structured (normative documents, records management, periodical press materials), the informative nature of narrative sources and museographic products are estimated. The effectiveness of the use of sign and behavioral sources is shown, based on author’s scientific and methodological developments. As the quintessence of the museum’s actual image in the global world its Internet resources are defined. In general, the application of an interdisciplinary approach to a representative source base can provide a deep scientific reflection that provides a development of such a phenomenon as the museum image.

94-98

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 relevance of the topic is connected with the study of the synesthesia of the musical creativity of M. Ciurlionis. The purpose of the article correlates with the identification of the synesthetic nature of M. Ciurlionis’ musical painting. Problems are solved related to the consideration of the main approaches in the study of M. Ciurlionis’ musical painting and the synesthetic nature of his musical and artistic creation. The article presents an analysis of several specific features of the aesthetic level of the composer’s creativity, which is characterized by the versatility of the author’s searches. A detailed examination of the discovered synesthetic phenomena of Ciurlionis’ creativity allows us to trace parallelism in various directions: music and fine arts. The symphonic poem “In the Woods” is analyzed in the context of viewing the music in the aspect of differentiated perception of auditory synaesthesia, in the context of interconscious associations and auditory synaesthesia. In the cycles of the picturesque sonatas by M. Ciurlionis, the compositional structure of musical genres is depicted by visual means. Thus, in the scenic cycle “The Sonata of the Sea” (consisting of three canvases: Allegro, Andante, Finale), a rough surf symbolizes a musical invoice (melody and accompaniment); smooth, wide lines, muted tones convey peacefully slow tempo of contours and melodious melodies; a powerful explosion of the elements, huge crests of the raging sea embody the restless, dynamic last part of the cycle. The results of the analysis make it possible to significantly expand the understanding of both, the musical painting of Ciurlionis and the above-mentioned synaesthetic processes in general.

103-108

Authors: Berseneva Elena Vitalyevna, Senior Instructor, Theatre Art Department, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: Aneegma@mail.ru

The special features of the repertoire policy of the Lunacharsky Kemerovo Drama Theatre in the period of Great Patriotic War are designated in the article. The basic repertoire, the volume of Soviet dramaturgy, which was shown to Kemerovo spectator during 1941-1945 is revealed. The conditions of the theater acting are examined, the producer experiments of V.V. Gardenin, A.K. Bekkarevich, V.A. Shabanov, A.S. Safonov directed to the formation of value installations in Kemerovo spectator are analyzed in this article. The special feature of this period is the theater mobility, which made it possible instantly to respond to contemporary dramaturgy, originated in the military time (classics of Soviet dramaturgy), that contributed to the formation of the value patriotic orientation of the Soviet audience (“Fellow from our city” (1941), “Russian people” (1942), “Wait me” (1943), “It will be so” (1944) K. Simonov, “Invasion” (1942) L. Leonov, “For those, who are in the sea!” (1945) B. Lavrenev and others). The searches for stage truth and the opening of deep characters disturbed not only directors but young actors also with enormous desire of artists to contribute to development and strengthening the mutual creative connections with producers L. Viven, N. Simonov, Y. Yuriev, D. Mechik, P. Coopers and other actors and producers. The meaningful aspect repertoire was called not only ideologically inspire spectator, support his combat spirit but form the cultural life of region too.

113-119

Authors: Glembotskaya Yana Olegovna, PhD in Philology, Rector of Novosibirsk State Theatre Institute (Novosibirsk, Russian Federation). E-mail: 79132006124@yandex.ru

The article presents the analysis of the performances on Ivan Vyrypaev’s plays directed by Sergey Afanasyev. Afanasyev had staged three plays by Vyrypayev in the period from 2010 up to 2016 in Novosibirsk City Drama Theatre. “Delhi Dance,” “Illusions” and “Dreamworks” were interpreted by the director as comedies developing the ironic potential of the plays. So called “the newest drama” of the post Soviet period was fixated on the situation of values collapse in the society and thus was focused on the “lower depths” of the social strata. Vyrypaev has chosen another way to overcome the social depression of his generation of playwrights: he created highly sophisticated narratives featuring “Western Life.” But all the foreign names and upper middle class professions are only actors’ masks making ironic effects. The three works by Vyrypaev interpreted by Afanasyev are discussed as the continuation of the “comedy profile” of the theatre. The analysis is theoretically based on the difference between the notions “the comic” and “the comedy” developed in the research on drama theory by professor from Tomsk Valentina Golovchiner. The performance aesthetics is considered as the interlacing of all the layers of stage versions of the plays: from sets and costumes to the way of actors’ self-presentation. The analysis leads to the conclusion that the usage of comic and comedy techniques in all the three performances differs from tragic counterpoint in “Delhi Dance” to the theatre of mask in “Illusions” and finally goes further to the tricks of TV shows and youth sitcoms in “Dreamwoks.” The comic and comedy are conceptualized as the way to overcome the problem of “under-substances” as it is described in the article by professor Kuznetsov in his research devoted to the new writing in Russia at the end of the 20th and beginning of the 21st centuries.

127-135

Authors: Taratorin Evgeniy Viktorovich, PhD in Pedagogy, Associate Professor of Department of Socio-cultural Activities, Orel State Institute of Culture (Orel, Russian Federation). E-mail: etaratorin@mail.ru

Today it is pointed out there is a search for new guidelines for the organization of a quality educational process in a higher educational institution using the innovative methods of work. The actual problem of education the professionally significant qualities of the future specialist is revealed, such as discipline and diligence, social responsibility for the results of work, initiative, tolerance and sociability. There is a connection between a well-formed corporate culture and a favorable emotional and psychological climate where the students can develop and receive moral and intellectual satisfaction from the learning process. The focus is on the organization of collective creativity, based on the organization of various animation programs, which leads to a quality process of forming the corporate culture of the student collective. There is a Federal State Educational Standard of Higher Education in the field of study 51.03.03 “Social and cultural activity” (the level of Bachelor’s degree), which is characterized by giving students a choice for those activities that will later find implementation in the professional sphere. The analysis is carried out of the content of activity of the student creative laboratory “School of Animators” which is based at the Department of Sociocultural Activity of the Orel State Institute of Culture. It provides conditions for forming the organizers competencies for the students, developing their leadership and communicative skills, and raising their professional level. It is concluded that the knowledge, experience, practical skills acquired in the preparation for animation programs will allow the student body to form its corporative culture, to rally around a single goal. The achievement of this goal is possible only if all students will support on a maximum and share key corporate values of the department and university.

143-149

Authors: Evaeva Anastasiya Eduardovna, Postgraduate, Department of Sociocultural Activities, Instructor of Theatrical Art Department, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: evaeva.nastya@mail.ru

The theoretical interpretation of the social theatre as a significant phenomenon of the theatre culture of the 20th and 21st centuries is considered in this article. The social theatre developing in the performance art has an unquestionable psychological and pedagogical potential, which is realized in such forms as: theatre therapy, psychodrama, forum theater, Class Act, documentary theater, etc. Social theater is a phenomenon that develops as interdisciplinary art at the intersection of theater and pedagogy, art and psychology, exposing and helping solve societal pain points. The social theatre has and realizes the psychological and pedagogical potential, which requires its scientific comprehension. Studying this phenomenon of theatrical culture based on identifying and substantiating the educational, psychotherapeutic, social and rehabilitation and other potentials gives us a chance to follow the formation of social theater as a psychological and pedagogical phenomenon. The social theater characteristics as a psychological and pedagogical phenomenon for the development of socially significant personal qualities of participants in theater projects are given in the article. The definition of the “social theatre” concept in English-speaking countries (Great Britain, Australia), in Germany, Africa, Asia and Latin America, Russia is analyzed here. The actual psychological and pedagogical approaches to working with a person in theatre projects of the XX and XXI centuries are revealed on methods and projects N. Yevreinova, Moreno, A. Boal, the project “Class Act” in the theater “Traverse” (Edinburgh), the theater project “Together” (St. Petersburg). The conclusion reveals the tasks and characteristics of theater projects of the social theater, structures the examined psychological and pedagogical approaches affecting the development of an individual.

155-162

Authors: Sergeeva Elena Faritovna, PhD in History, Associate Professor of Department of Museum Sciences, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: faritowna@mail.ru Moiseenko Roman Nikolayevich, Senior Instructor of Folk Dance Department, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: m-ms@bk.ru

The article examines approaches to practically oriented training based on practices of the direction “Choreographic Art.” One of the main tasks of the modern “higher education” is the preparation of a highly qualified specialist in a certain field. In our country, many institutes, universities and academies of culture are engaged in choreographic education. By now, considerable experience has been accumulated in the choreographic education at various levels: in the system of supplementary education, in the system of secondary vocational education and universities. It is substantiated that the organization and holding of joint events are aimed at the formation of professional competencies, as well as the fulfillment of labor functions necessary for demanded specialists. Attention is focused on the fact that the preparation takes into account all normative documents. The authors, using concrete examples, show the possibilities of forming the professional competencies among learners by including them in the work of an educational creative laboratory based on the faculty of choreography. The creation of such a laboratory allows us to solve several problems: introduction of innovative technologies into the system of choreographic education, creative search for new choreographic forms, integration, synthesis of two kinds of arts: choreography and theater. Conducting classes based on the laboratory allows students not only to obtain theoretical knowledge but also to develop practical skills in the main areas of choreographic activity: tutoring, pedagogy and choreography. The described model of training makes it possible to prepare a well-demanded specialist who is ready to work in cultural institutions, in accordance with the requirements of the employer and modern educational and professional standards.

170-175

Authors: Kosyanenko Yuliya Aleksandrovna, Postgraduate, Department of Musical Upbringing and Education, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation). E-mail: triumph.julia@ yandex.ru

The article deals with the theoretical and practical aspects of the problem of improving the system of spiritual, moral and patriotic education of younger schoolchildren, such as: possibilities of using musical art, in particular, the music by G.V. Sviridov in the process of spiritual, moral and patriotic upbringing at music lessons in generally educational school. Forming creative personality becomes possible only in the conditions of complex development of spiritual and intellectual abilities. Because musical art stimulates the development of the spiritual and intellectual components, the author proposes to look through the system as the universal facility in developing a personality. So, the goal of the article is to show the abilities of the musical art – especially the Sviridov’s music in the process of improving the system for the younger schoolchildren. The methodical development, aimed on solving the problem of improving the system of spiritual, moral and patriotic education of younger schoolchildren, has been fulfilled; there were summed up the results of a research of existing methodological support and the survey of school music teachers; the most important, in our opinion, questions of practical application of the adapted variant of the program on music, with the inclusion of the most vivid fragments of the creativity by Georgy Sviridov at music lessons, were searched; a classification was made, facilitating the selection of musical examples for each lesson, according to the thematic plan, on the base of the pieces by Georgy Sviridov. In Kosiannenko’s work the methods of a search in the pedagogical process, research and analysis of the documentation (the programs and supporting documents) were used. The author’s experimental research showed the correctness of the hypothesis of the research – looking through the musical art and creativity of Sviridov as the powerful remedy in improvement of the system of spiritual, moral and patriotic upbringing of the younger schoolchildren.

185-193

Authors: Telmanova Anastasiya Sergeevna, PhD in Pedagogy, Associate Professor of the Department of Management and Economy in Sociocultural Sphere, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: astel-75@mail.ru

We cannot but admit significant impact the socio-cultural environment has on the formation of personal qualities, revealed at the individual and social levels. The basis of any sociocultural environment is represented by sociocultural institutions that have a unique pedagogical potential and form a kind of an infrastructure that takes into account regional peculiarities. The purpose of the study is to determine the directions for realization of the pedagogical potential as the functional part of Kemerovo region sociocultural infrastructure. Methodology and methods. Methodological basis of the study is presented by the general scientific interdisciplinary methodological conception provisions, cultural conceptions and sociocultural theories. The research is based on theoretical, empirical and statistical methods, such as culturological papers and pedagogical literature analysis; conceptual research apparatus of terminological analysis; modeling and design and observation. Results of the study. While doing the research, we noted the urgency of creating conditions to realize the pedagogical potential of the regional sociocultural infrastructure and identified the international aspect of this issue. The study presents a notion of the regional sociocultural infrastructure as a complex of sociocultural institutions and services as the factors that contribute to the personal and social development of a certain territory residents. We have also identified and listed the features of the sociocultural infrastructure of Kemerovo region in this paper. We have identified the ways and suggested directions to realize the pedagogical potential of sociocultural institutions of Kemerovo region, in order to preserve, present, communicate and interpret cultural and social values through direct contact with a person. We have identified the main conditions for realization of the pedagogical potential of the regional socio-cultural infrastructure, which are: - accessibility; - variability of activities; - forms and methods of work which take into consideration the age, national and cultural characteristics of population groups: - conditions for sociocultural and creative self-realization of the locals. The study presents a report on the experience of organizing the system of institutional partnership in Kemerovo region and implementing the integrated pedagogical programs that involve the regional sociocultural institutions’ potential in the educational process. Conclusion. As a result of the study, we have concluded that due to the developed sociocultural infrastructure of this region that has a significant pedagogical potential and is greatly involved in the educational process, it contributes to the development of social and cultural experience through building relationships with the surrounding environment.

199-209

Authors: Taranenko Lyubov Gennadievna, PhD in Pedagogy, Associate Professor, Department Chair of Documentary Communications Technology, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: tdk@kemguki.ru Dvorovenko Olga Vladimirovna, PhD in Pedagogy, Associate Professor of Department of Documentary Communications Technology, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: olga.uso@gmail.com Dvorovenko Vadim Nikolaevich, Postgraduate, Department of Documentary Communications Technology, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: vadimon@mail.ru

Library education has all prerequisites and significant opportunities for active implementation of e-learning. For development of this direction we need to explore the subject area of e-learning. For these purposes, method of bibliometric analysis of scientific publications was used to explore next terms: e-learning, distance learning, information and educational environment and electronic educational environment. The reference journal “Informatics” for the period from 2000 to 2016 was used as a basis for the investigation. After analysis, 720 sources were selected as research objects. The dynamics of the documentary flow containing terms “e-learning,” “distance learning,” “informational educational environment” and “electronic educational environment” was analyzed. As a result of the analysis of the documents flow for each discussed term, a list of authors studying the problem was identified. The article provides a comparative analysis of foreign and Russian publications and a description of the thematic structure of the documentary flow. As a result of the research, it was determined: the authors’ sustained interest in the problem of e-learning was outlined in 2007; the peak of the study of the problem occurs in 2015; since 2012 there is a preponderance of Russian publications in the flow. E-learning is primarily understood by authors as a joint activity or interaction of participants in the educational process through information and communication technologies. The largest number of publications on the topic “distance education” was published in 2012. This is linked with the development and opening the programs for distance education and retraining the library specialists. The content analysis of publications on the keywords “information and educational environment,” “electronic educational environment” showed that the authors are mainly interested in the issues of their use in the educational process. The documentary flow on the investigated problem demonstrates the authors’ constant interest in this topic. The insufficient development of the terminological system in area of the research in regulatory, reference and scientific publications has been revealed. A number of works have been identified that covers the implementation of e-learning in library information activities and can become fundamental in the development of the e-learning concept of a library specialist.

13-26

Authors: Sadovoy Aleksander Nikolaevich, Dr of Historical Sciences, Professor, Head of Laboratory of Ethnosocial Problems, Sochi Research Centre of the Russian Academy of Science (Sochi, Russian Federation) E-mail: sadovoy.a.n@gmail.com

A wide range of national policy assessments in regional historiography determines the issues of relevance. The national policy of Russia is assessed from the position of ethnic minorities, social strata and geopolitical opponents. The debatable nature of the problems is determined by the scientific paradigms of change. Regional historiographers attempt to replace the “Marxist-Leninist” methodology with the principles of the “civilizational approach.” The basis of this activity is the thesis that only the “civilizational approach” allows to focus attention on the mechanism (genesis) of modern ethno-cultural processes among ethnic minorities. The article contains a criticism of the operational capabilities of the “civilizational approach” and scientific tools, which is used to identify the ethno-social consequences of Russia’s national policy during the 19th and early 21st centuries. The use of the principles of the system approach and comparative analysis underlies the proposed criticism. Approved (in Russia and neighboring countries) social technologies of the “national issue” solutions are included in the subject area. A system of universal indicators for evaluating the national efficiency policy is proposed on the basis of a multidimensional analysis. Indicators are focused on identifying the dynamics of changing the positions of the parties: the subject (state) and the object (ethnic minority) of the national policy. All parties are regarded as active participants in ethnopolitical and ethno-cultural processes. The problem of the mechanism (cause-effect relations) of historical “mythmaking determining,” manifested in regional historiography, is considered as an independent research field. For the first time in historiography, it is proposed to consider this phenomenon as an ethnic (ethno-cultural and ethnopolitical) process, that does not have a direct relationship to the historical science basic development tendencies. The working hypothesis of the existence of a direct relationship between the “civilizational approach” approbation (in regional historiography (culturology) studies) and the formed concepts of the national policy effectiveness evaluation rejection is formulated in the conclusion.

36-42

Authors: Zolotukhin Vladimir Mikhaylovich, Dr of Philosophical Sciences, Professor of Department of History, Philosophy and Social Sciences, T.F. Gorbachev Kuzbass State Technical University (Kemerovo, Russian Federation). E-mail: zvm64@maiil.ru

The article is devoted to the analysis of socio-philosophical and culturological aspects of the consideration of economic behavior in the Russian mentality. It is emphasized that the diversity of different national stereotypes of behavior, including the economic behavior, depends on the dynamics of development and/or transformation of different types of mentality within the framework of the Russian state. Different approaches to definition of economic behavior, both from the point of view of disclosure of human potential through system of value stereotypes, and activity as a certain form of sociocultural process are analyzed. The attention is focused on the fact that within the framework of the Russian mentality, the economic behavior, being a social reflection, on the one hand, contributes to the rationalization of economic activities, and on the other – aimed at meeting the economic interests. It is noted that in the processes of formation and consolidation of negative practices, the revealed elements of deformation of economic behavior that contradict the interests of a particular employee, regardless of his property, socio-cultural and ethnic affiliation, and the interests of society as a whole. The degree of stability and adjustment of economic behavior depends on economic transformations and is determined by ethnonational characteristics of its subjects. It is also noted that the forms, systems and mechanisms of vocational training, depending on the market needs, have a significant impact on economic behavior. In the context of the low level of institutional trust, as well as the lack of a culture of public dialogue, there is a shift in the economic activity of Russians at the social micro level.

49-57

Authors: Gavrilov Oleg Fedorovich, PhD in Philosophy, Associate Professor, Associate Professor of Department of Philosophy, Kemerovo State University (Kemerovo, Russian Federation). Е-mail: gof57@yandex.ru Vasilyeva Raisa Pavlovna, Bachelor, Institute of History and International Relations, Kemerovo State University (Kemerovo, Russian Federation). Е-mail: rpvasilyeva@yandex.ru

The research is devoted to the idea of the end of history in the context of utopian consciousness. It is shown that it acts as the rationalized and conceptualized expression of desire to find the perfect society allocated with a number of the detailed characteristics in cash reality. This regimentation of substantial filling of the idea of the end of history makes impossible its literal embodiment, but at the same time allows it plays a role of a detonator of social cataclysms. The comparative analysis of the idea of the end of history and eschatological ideas of an apocalypse is carried out. A valid conclusion according to which, despite genetic proximity, they significantly differ. The apocalypse means the global accident opening a way to transcendental reality, to a new stage of history. The end of history assumes achievement in social reality of so perfect condition of society at which any essential social changes become excessive and in principle impossible. Besides, if eschatological representations are a result of a religious belief, in the idea of the end of history, even if it sometimes is presented, does not play the leading role. The idea of the end of history expressed in philosophical, specialized art or in the form of compositions of folklore is a result of utopian activity. Any utopia surely contains or assumes the idea of the end of history and any idea of the end of history is always utopian. The article formulates the conclusion according to which the idea of the end of history is the primitive scheme in comparison with multidimensionality of reality is formulated as an indicator of social crisis, warning as to its content and practice indirect realization about the threat of loss people making sense reference points, loss of culture diversity.

69-74

Authors: Rendashkina Alisa Nikolaevna, PhD of Culturology, Sr. Instructor, Department of Information Technologies in Creative and Cultural Industries, Siberian Federal University (Krasnoyarsk, Russian Federation). E-mail: rendashkina@list.ru

In the article, interrelation of sociocultural space and religious consciousness of a person as separate elements of uniform system of culture is considered. Key concepts are disclosed and reference points for the analysis of processes of coevolution in culture are allocated. Where the coevolution is considered within culturological paradigm. Sociocultural space is defined by the author at the information communicative level. Its development communicates tendencies of growth of information technologies, electronic, etc. means. The religious consciousness is considered, how emotional involvement of a person into the sphere of religious subjects and objects. It is noted that reflexivity is one of the most important feature of religious consciousness. This feature of religious consciousness allows religion to be susceptible to innovations and transformations. This way emphasized that the religion is realized by the author, as a cultural element. On the basis, Mangasaryan V. N. allocated the signs of process of coevolution, a comparative analysis of sociocultural space and religious consciousness has been carried out. It is noted that information to which a person appeals, is not always unsystematic. The sociocultural environment influences the personal choice of this or that information. In this regard it is noted that spiritual filling of a person also depends on his sociocultural environment. It is summarized that the sociocultural environment and sociocultural space are identical since their main characteristics have a high degree of virtuality and communicativeness. It is proved that the religious consciousness and sociocultural space have similar measurements: dynamic and static, individual and collective, historical and social. Therefore, in system of culture synthesis of cultural traditions and innovations is born. Because of all the above, the author designated communication of these processes, the qualitative characteristic is given them and their coevolutional nature is proved.

82-89

Authors: Shugurov Pavel Evgenyevich, Postgraduate, Far Eastern Federal University (Vladivostok, Russian Federation). E-mail: p-shugurov@yandex.ru

In this article, the author analyzes the differences between public art and other forms of plastic arts, concluding that it is a part of the mass culture, and needs different evaluation criteria. The author highlights the following distinctive features. The reproducibility is the need to increase the number of copies in case of success of work and ability to easily export it to other audiences. The author points to the typical forms of works suitable for reproducibility. The next trait of masscult art is the “blind” copy. Making the copies perverted or lost the original meaning. Such manipulations are possible, because authorship in the works of public art is secondary as other phenomena of mass culture too. These works are created by collective labor or dissolving the original author’s idea by distortion of his original or “usurpation” of his name. Developing the idea of the secondary position of the author, it is proposed to consider that the audience reaction (social reflection) becomes part of the artistic idea of public art. Here the author compares public art and art in galleries and museums. Works of public art “include” in their idea all the actions that took place with them, occur and will occur until the complete distortion of their original ideas (ideology and image), until destruction. And after the destruction, while the memory of the work is alive, while the visual image of a non-existent object is associated with its location or with the effect it produced in the context of urban history (mythology). The main features of mass culture are illustrated by the facts of history of the first official monument of the city of Vladivostok, G. I. Nevelskoy Monument.

94-99

Authors: Steynmiller Ilya Olegovich, Postgraduate, Department of Philosophy and History of Science, Belgorod State Institute of Arts and Culture (Belgorod, Russian Federation). E-mail: shteynmillerx@yandex.ru

In this article, the author attempts to develop mechanisms of propaganda and popularization of the peripheral theater as an integrator of the socio-cultural integrity of the Russian society, substantiates its place and role as an actual resource that contributes to the national consolidation and strengthening of the spiritual security of Russia. At the same time, the reflection of theater and theatrical creativity as a “stage of civil dispute,” as a popular society of historical cultural practice, forming the aesthetic paradigms of a particular era, society and the individual. It is explained that in such a perspective the phenomenon of theater and theatrical art harmoniously “fits” into a certain cultural horizon of society and a person. The author considers a way of search of the valuable reference points of the person ascending to the history of culture which carry out the consolidating mission on preservation of a spiritual core of people. The theater is regarded as an art form and the theater as a “Temple,” as a kind of cultural. For this purpose, it is planned to carry out the following types of work: study of the main historical and cultural approaches to the phenomenon of peripheral theater, as a part of Russian history and culture; analysis of Genesis, evolution, forms of peripheral theater in the Russian cultural space; justification of the nature and importance of this type of theater in the history of Russian culture and Russian society; study of the dynamics of its demand; determination of the potential of the peripheral theater as a generator and battery of spirituality of Russian society in the formation of a single national cultural space.

111-121

Authors: Paliley Aleksander Vasilyevich, PhD in Pedagogy, Professor, Dean of Faculty of Choreography, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: palileyav@mail.ru Bochkareva Natalya Ivanovna, Associate Professor of Department of Folk Dance, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: nati-10@.ru

The article deals with the education of young people in the history of their homeland, culture, traditions and customs, their ideals and values. The appeal to the Cossacks as a phenomenon of history and culture in the aspect of methodology justifies the significance of the Cossack idea as a source of development of national consciousness of younger generation. Today in the domestic education, the axiological vector is actively understood and finds concrete embodiment in pedagogical practice, in which the methodology is aimed at the acquisition of personal meanings, ideals, values, mental stereotypes in the relevant cultural and historical environment. This, in turn, actualizes the search for traditional cultural models and the creation of pedagogical concepts based on the successive transfer of socio-cultural experience within the national tradition in the Russian educational system. With the revival of the Cossacks of Russia, its historical and cultural traditions, the question naturally arose of working on the expressive means in the directing work of choreographers in amateur collectives, search for new themes, ideas, dance forms and genres in modern conditions. The professional and creative activity of the choreographer in ensembles of folk dance, creative collectives of the song and dance direction, regional folklore groups, including ensembles whose repertoire is based on the traditions of Cossack culture, provides for compulsory knowledge in the field of ethno-choreography, folk ritual and festive culture of peoples living in Russia and abroad in order to authentically embody in the choreographic rooms the historically established dance traditions, is based on folk festivals and ceremonies. Folk dance art, based on genuine Cossack culture, promotes the development of spiritual culture, creative abilities, influences the formation of the world view, promotes the harmonious development of an individual, the formation of a civil-patriotic position.

127-135

Authors: Ursul Arkadiy Dmitrievich, Dr of Philosophical Sciences, Professor, Academician of the Academy of Sciences of Moldova, Honorary Worker of Science of the Russian Federation, Director of the Center for Global Studies, Faculty of Global Processes, Lomonosov Moscow State University (Moscow, Russian Federation). E-mail: ursul-ad@mail.ru

The article develops the information concept of culture, which, in the author’s opinion, mostly expresses the nature of the social stage of evolution. Information is viewed as a universal property of matter, “responsible” for evolutionary processes and realizing various forms and ways of storage and movement at various stages of development of global evolution. It formulates the socio-cultural principle, exogenous stockpiling, transfer and transformation of information, suggesting that unlike the previous stages of the evolution of matter, the humanity is beginning to expand its distribution on Earth first and then beyond. Culture in the most general form is interpreted as an extragenetic information process, using mostly exogenous (extracorporal) ways of accumulating, transmitting and transforming information in the context of further growth of information content of material systems on the superhighway of global-universal evolution. In order to continue this superhighway, it was necessary to form a new way of accumulating and moving information in the social stage, radically different from the biological-genetic mechanisms of information processes. The study of the phenomenon of culture as an extragenetic information process that characterizes the social stage of evolution, as well as the use of information methods in the study of socio-cultural processes and systems is considered as a subject field and an approach to the formation and development of a new direction: Information Сulturology.

145-152

Authors: Dolgushina Marina Gennadyevna, Dr of Art History, Associate Professor, Department Chair of Theory and History of Music and Musical Instruments, Vologda State University (Vologda, Russian Federation). E-mail: mgd63@mail.ru

This publication analyses the content published by the “Vologda Provincial Gazette” about the events of the musical life in Vologda from 1838 and until the end of the XIX century. This publication describes the first attempt of the holistic analysis of all information available in the newspapers of the second half of the XIX century. This publication is relevant due to the need for incorporating information about the musical life into the overall regional musical research, which is currently carried out in many Russian cities and towns. The newspaper’s articles confirm that the key areas of the Vologda musical life were the musical theatre, concert tours of professional musicians, concerts by local musicians and music lovers, as well as musical education. Information about those areas is presented in various types of newspaper content such as reviews, announcements, brief news stories, overviews, advertisements and mentions in lists of arriving and departing persons. This research has identified three periods with varied intensity of newspaper publications about musical life. The content published in the 1850s and beginning of 1860s is emotional and includes characteristics of the music played, as well as special terminology. The content published in the end of the century mostly informs about the event, its charitable purposes and people attending it. This study includes earlier unpublished information about the Vologda tour of the first professional Russian piano duet – Pogozhev sisters – as well as violinist Afanasyev, and concerts for local music lovers. Concert repertoire is discussed, as well as its particularities. This publication concludes that the articles published by the “Vologda Provincial Gazette” are a reliable source of historical data, confirms the current knowledge about the development of arts in Vologda in the second half of the XIX century, as well as expands this knowledge.

169-175

Authors: Hu Yingxue, Postgraduate, Department of Musical Upbringing and Education, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation). E-mail: 9261513@qq.com

In this article, the main theme is the creation of works for two pianos and mastering this type of piano art in China. In retrospect, the history of the development of playing the two pianos in this country is considered. The state of the style of performances on two pianos at present time is studied, and prospects for its development are considered. The author proposes 3 periods in development of playing the two pianos in China: the stage of beginning (1960s and 1970s), period of forming the Chinese music for two pianos (1980s and 1990s ) and the period of the following development of the Chinese piano music for 2 instruments (2000s to our days). Each stage has its peculiarities. The author defines the types of the pieces for two pianos, composed in China. The way to the modern solutions in the questions of the methodic moves to the questions of the teaching methods of playing the two instruments. The main thought of the author is her assurance in the importance to develop playing the two pianos in China and creating the special repertoire for this type of piano ensemble. Following the international experience and its use in pedagogical practice of China together with the connection of improvement of the “Chinese style” are proposed to create lately the Chinese special system of teaching to play the two pianos.

182-186

Authors: Berseneva Elena Vitalyevna, Sr. Instructor, Theatrical Art Department, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: Aneegma@mail.ru

This article is devoted to the actual problems of researching the Soviet theater art in the 1960s in Kuzbass. The Kemerovo Drama Theater is regarded as the center of cultural and spiritual life of the region. This article is directed to identify a conflict between the authorities (ideological and political motives), seeing the theater as a mass art that was understandable and accessible to everybody and a new theater (morally-aesthetically motivated), which realized itself as authentic art. One of the brightest periods of life of the Kemerovo Drama Theater, connected with the work of V.L. Klimovsky is considered in the article. The director-innovator tried to expand a framework of life of a peripheral theater in his experiments. He aspired to create the “Taganka” on the basis of the regional drama theater. Searching for new forms of the communication with the audience led to the renewal of the whole system of the artistic means. Working on the classic play “Romeo and Juliet” V.L. Klimovsky together with theater artist M.T. Rivin staged a performance in which the conflict between the authorities and the people was evident. The party leadership did not accept the interpretation of the classical material. But Moscow theater critic V. Sechin wrote a notice about this Klimovsky’s performance comparing it with “Hamlet” by V. Panso and “Midsummer Night’s Dream” by M. Tumanishvili.

192-195

Authors: Turanina Neonila Alfredovna, Dr of Philological Sciences, Professor, Department Chair of Publishing and Library Science, Belgorod State Institute of Arts and Culture (Belgorod, Russian Federation). E-mail: idb@bgiik.ru. Sushkova Yuliya Nikolaevna, Instructor, Belgorod State Institute of Arts and Culture (Belgorod, Russian Federation). E-mail: barabanova.yulia90@mail.ru

Now the problem of interpersonal communication draws more and more attention of researchers as a factor of formation of corporate culture of the organization. The article reveals theoretical and practical aspects of interpersonal communication in the context of corporate library culture. In the article, it is noted that the corporate culture is under construction on the basis of certain behavior models which are connected with the interpersonal relations and interpersonal communication. In this work, the results of monitoring regarding the determination of level of interpersonal communication of library specialists, which included the important questions connected with professional activity, and, respectively, influencing the level of interpersonal communication in collective are presented. In a research, the effective ways of achievement of results are offered, the program is developed, and various methods of formation of interpersonal communication in modern library are proved. The problem of interpersonal communication in library is always relevant as effective communication is the key to achievement of results in professional activity. Effective communication is not only which has allowed to achieve result, but also in which the balance of relations between participants of communication has remained, all this is very important for formation of a speech ideal as the main part of communicative efforts is directed to such result. Monitoring the regional libraries regarding the determination of a level of interpersonal communication has yielded certain results for development of the system of training the specialists in this direction. By means of the questions concerning the professional activity, we have revealed the emotional atmosphere in a collective, the level of corporate culture of librarians and level of interpersonal communication.

205-216

Authors: Belogay Kseniya Nikolaevna, PhD in Psychology, Associate Professor of Department of Acmeology and Developmental Psychology, Kemerovo State University (Kemerovo, Russian Federation). E-mail: belogi@ mail.ru Bugrova Natalya Anatolyevna, PhD in Philosophy, Associate Professor of Department of Psychology and Pedagogy, Kemerovo State University of Culture, Graduate Student, Kemerovo State University (Kemerovo, Russian Federation). E-mail: ametist23.28@mail.ru

The article considers the psychological and pedagogical problem of forming the image of the future in the period of youth in the process of professional education. Today we live in a rapidly changing world, globalization, dynamism of information, and eclectic values. All this leads to disruption of the processes of personal development. In the sphere of vocational education, demands are made for the formation of a competent specialist, capable of being a strategist of his own professional and life path in general. But learning to construct the future to date has not become a special area of professional training for the future specialist and part of social practice. All this determines the urgency of studying the stated problem. The aim of the article is to highlight the most significant aspects of the problem of forming the image of the future and to designate the key prerequisites for the development of a program of psychological and pedagogical support of forming the image in the period of youth in the process of professional education. The analysis of philosophical-methodological, theoretical, methodical approaches, requirements for a professional made it possible to identify the most obvious aspects of the problem: shortcoming of pedagogical research, uncertainty of the system of concepts related to the ideas of the future. The expediency of applying the concept of “the image of the future” as a functional concept for studying the ideas about the future in youth is grounded. Some key principles for the development of the content and technological aspects of the psychological and pedagogical support program are outlined. The special significance of forming a constructive image of the future for a professional in the sphere of “Man-Man”, above all for the future teacher is emphasized.

225-231

Authors: Liu Yanchen, Postgraduate, Department of Musical Upbringing and Education, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation). Е-mail: yanchenl@mail.ru.

Modern children’s piano pedagogy is the most relevant subject of music education in China. The purpose of writing this article was to look through the practice of teaching the piano, finding the reasons for the critical situation depending on the displeasure with results of studying the piano playing by children and their parents. The ways out of the situation of general dissatisfaction with the results of initial piano education in China are proposed. The author reveals the causes of the crisis situation due to the fact that teachers who do not have a license and special education often work with children. Summering the results of a research in influences that were turned on the initial students in China, the author offers the ways out the difficult situation. As a result, the responsibility of a piano teacher is defined, and the effectiveness of the influence of family musical upbringing, of public musical environment, particularly, mass media, on those who are getting the piano education are proved, as well. It defines the psychological and pedagogical approaches in forming the methodical principles in the initial piano teaching the Chinese children. Conclusions on organizing the teaching process are made and recommendations are given. Particularly, it is shown that the musical environment’s influences on the piano teaching are connected with mass media, their positive function must be used in piano pedagogy. As to finding the way out the situation of the crisis, the author is sure that it will be overcome thanks to the high level of the development of the initial piano pedagogy in China.

241-250

Authors: Rodionova Darya Dmitrievna, PhD in Philosophy, Assistant Professor, Head of the Educational and Methodological Council “Museology and Protection of Cultural and Natural Heritage Objects,” Department Chair of Museum Sciences, Kemerovo State University of Culture (Kemerovo, Russian Federation) E-mail: kafedraMD@yandex.ru Mastenitsa Elena Nikolaevna, PhD in History, Associate Professor, Member of the Educational and Methodological Council “Museology and Protection of Cultural and Natural Heritage Objects,” Acting Department Chair of Museology and Cultural Heritage, St. Petersburg State University of Culture (St. Petersburg, Russian Federation). E-mail: muzeologkaf@spbguki.ru

The article describes the approaches of the profile “Training and Methodological Association” to the design of the Approximate Master’s educational program for the Master’s program in the field of preparation 51.04.04 “Museology and Protection of Objects of Cultural and Natural Heritage.” In case of this direction, the stages of creating a program are considered, their features are justified. At the first stage, the authors conduct the analysis of existing profiles in the educational organizations of the Russian Federation that carry out the preparation of Masters in the direction “Museology and Protection of Cultural and Natural Heritage.” Within the framework of this preliminary stage, the professional standards associated with museum activities have been studied and the possibility of maximizing the boundaries of the profile of training the Masters-museologists on the basis of the resources and needs of a specific region, as well as within established scientific schools, is justified. In the second stage, the short content of sample Working Programs of Disciplines, Practice Programs, as well as State Final Attestation Programs for the establishment of interdisciplinary connections, continuity of courses and practices determining the sequence of implementation of the profile orientation of the educational program, which conditioned its architectonics and compliance with the requirements of the educational standard 3 ++. At this stage, the focus was on the principles and ways of forming professional competencies, as well as indicators of their achievement. On the third, corrective stage, the essence of which lies in the internal evaluation of the PEP at the level of the Federal Training and Methodological Association for the Enlarged Group of 51.00.00 “Cultural Studies and Socio-cultural Projects” for the compliance of this program with modern education technologies, special attention is paid to the correlation of structure and content.

personal information culture, information culture of a school student, information society, education, S.A. Sbitnev, federal state educational standards, “skills of the 21st century”.

Authors: Gendina Natalya Ivanovna, Dr of Pedagogical Sciences, Professor, Honorary Worker of Science of the Russian Federation, Director of Research Institute of Information Technologies in Social Sphere, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: nii@kemguki.ru

The paper highlights the role of professor S.A. Sbitnev as a founder of the Kemerovo library school and a founder of the scientific direction on studying the personal information culture. Changes in an education system as a result of development of information society in Russia are characterized. The sense of the concept “Skills of the 21st Century’ or “soft skills” reflecting requirements of employers to potential workers is revealed: ability to solve non-standard problems in dynamically changing world, ability to think critically, ability to find and to critically estimate information, ability to interaction and communication. The paper marks considerable potential of the general education (comprehensive schools) as a basic link in information training of children, teenagers and youth. Activities of Research Institute of Information Technologies of the Social Sphere of Kemerovo State University of Culture as a scientific center according to the theory and a technique of formation of personal information culture are analyzed. The research devoted to detection of information knowledge and abilities of teachers and pupils as a part of federal state educational standards (FSES) is characterized. High saturation of FSES by information terminology and inclusiveness of information knowledge and abilities in all sections of educational standards is set. It is emphasized that for the first time the intellectual activity (work) with information is shown in educational standards for all subjects, including its search, analysis, assessment and interpretation, and not just ability to work with the computer. The entity of the concepts “metaobject results of training” and “cognitive universal educational actions (CUEA) is revealed, and the connection with the concept “skills of the 21st century” is shown. Communication of CUEA with structure of a training course “The Basis of Information Culture of a School Student” is shown. Recommendations of need of professional development for teachers and school librarians in the sphere of formation of school students’ information culture are presented.

30-38

Authors: Skipor Inna Leonovna, PhD in Pedagogy, Associate Professor, Associate Professor of Department of Automated Information Processing, Vice-rector for Academic Affairs, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: skiporil@mail.ru

The article is devoted to development of the ideas of Professor S.A. Sbitnev, the founder of the Kemerovo Library School in the field of creation and operation of electronic information resources. Scientific research and development in this area of the teachers of the Department of Automated Information Processing of Kemerovo State University of Culture are described in a historical context. The article highlights the expansion of typical electronic information resources as the objects of scientific research and development according to a level of information technology development at a certain time in history. It points out the advantages of using the integrated technologies of electronic information resources creation in both: the development of various types of electronic information resources, and in organizing the education, professional development and retraining the library staff. The article considers the evolution of staff training in solving the challenges of creation and operation of library electronic information resources. The correspondence between the level of development of information technologies, electronic information resources and requirements to the level of training the library staff is established in its emphasizes the role of universities of culture in the staffing of libraries, taking into account modern requirements. It underlines the anchoring the possibility to carry out training the specialists for libraries and information institutions that provide digital content development at state level. The article covers the experience of modeling the educational programs on the specialty “Library Information Activity” 51.03.06, profile “Technology Automated Library and Information Systems” in Kemerovo State University of Culture. The content of subjects of study, directed on the formation of professional competences of graduates in the field of creation of electronic information resources is given. The article touches upon the relevance of training programs and professional retraining the library staff in the field of formation of electronic information resources. It points out variability of programs of additional professional education. It describes the programs of advanced training and professional retraining the specialists of libraries, aimed at formation of professional competences in the field of creation of electronic information resources, implemented by teachers of Kemerovo State University of Culture. It characterizes the structure and content of advanced training programs, profession retraining and explains the features of organizing the educational activities.

51-60

Authors: Pilko Irina Semenovna, Dr of pedagogical Sciences, Professor, St. Petersburg State University of Culture (St. Petersburg, Russian Federation). E-mail: skip_95@mail.ru Taranenko Lyubov Gennagievna, PhD in Pedagogy, Associate Professor, Department Chair of Documentary Communications Technology, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: lubgt@mail.ru

The traditions of teaching the course of library local lore are reflected. Outlined the thoughts of S.A. Sbitnev, the founder of the Kemerovo library school, about the organization questions of information support of regional information needs, the formation of regional automated library systems, personnel support of information services of specialists of the region. An attempt has been made to characterize the conceptual foundations of a professional preparation of library and information specialists in the field of library regional studies in the development of the ideas of S.A. Sbitnev. The analysis of changes in the requirements for professional competence specialists in the field of library study of local lore during the XX - XXI centuries has been done. The modern requirements of the professional community for knowledge and to the skills of library historians of local lore identified in this article. The practice of teaching local lore studies in higher education institutions and colleges of culture and art of the Russian Federation has been learned. Has been identified the teaching trend of library study of local lore as an interdisciplinary complex, including disciplines of general scientific, information-technological and professional (library-bibliographic) training. The experience of teaching in the Kemerovo State Institute of Culture course “Information support of regional needs”, conceptually grounded S.A. Sbitnev. His academic content and the subject of scientific research are focused on identifying and understanding the needs of local lore practice libraries. Basic principles of the concept of local lore studies as an teaching object are: interdisciplinary, reflection in the content filling regional specifics, accounting the existing traditions of teaching local history bibliography and other local history courses, orientation to practical needs of local lore activities of libraries.

66-74

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

The most important task in the preservation of dance art is the education of a new generation of choreographers for choreographic collectives and troupes of various directions. The author of this study is a professional ballet dancer and choreographer with many years of experience of teaching the choreography in culture and arts institutes. In this paper, he shares his ideas and methodological approaches to training the future ballet choreographers. Recognizing and summarizing the expertise accumulated by his predecessors, he argues that the current development of the choreographic art requires that training should be based on dance vocabulary, and that students should be taught how to create a choreographic text which serves as the basis for the narrative of a piece of choreography. For this reason, a choreographer training should focus on improvisation. The author argues that, unfortunately, theoretical works by choreographers give little attention to improvisation. To fill the gap, the author suggests an original method of using the improvisation in choreographer training. Its didactic significance lies in the gradual build-up of skills of composing the choreographic text. The main methodical principle is spontaneity of composing the dance combinations consisting of simple movements that students come up with using their imagination. The author believes that the unpredictability of the group improvisation process can lead to the creation of most unexpected combinations that can hardly appear in an individual dance composition. By improvising in a group, students accumulate choreographic material which they can use in their future work.

83-90

Authors: Hou Changzhi, Postgraduate, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation). E-mail: foreverzrj0917@gmail.com Chernaya Marina Radoslavovna, Dr of Art History, Professor, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Frderation). E-mail: marina-chernaya@yandex.ru

The article deals with a study of the history of clarinet in China and requires knowledge of the famous teachers, composers and performers. A number of Chinese writers-researchers had addressed this issue in the aspects of the activities of the musicians in China. The purpose of this article is to collect the data on the biggest Chinese teachers-methodologists and clarinetists-performers, since the appearance of the clarinet in the concert and educational practice of this country to the present day, as well as the formation of the centers in studying the clarinet playing. The role of the activities of the first Chinese clarinetist Mu Zhitsin, the first womanclarinetist Tao Zhunsyao, composers, who wrote pieces for clarinet, Tsin Letszyun and Tao Syuiguan, pointed out, as well as the other Chinese who had written their names in the history of clarinet in China, such as Zhao Kunhou, Tsin Penchzhan, Van Duanvei, Zhan U in the 20th century and -- Bai Te, Van Zhensyan, Fan Lei, Tsin Letszyun, etc. – in our days. The authors’ conclusion is that the prominent actors of the art of clarinet playing in China are universals, as a rule. The accent in the article is put on the events connected with the opening of the specialty on playing the clarinet at Chinese institutions and on publishing the methodical books for clarinet teaching. So, the analysis of the formation of the centers of clarinet playing in China, made by the authors of the article, is very practical. The main idea of the article is that the history of clarinet in China is not over, it goes continuously further in our days. The article is based on Chinese resources, fragments of which were translated in Russian by Hou Changzhi.

96-103

Authors: Nezhinskaya Tatyana Albertovna, PhD in Pedagogy, Associate Professor at Music Software Technologies, Cinema and Television Department, Institute of Humanitarian and Socio-economic Education, Russian State Vocational Pedagogical University (Ekaterinburg, Russian Federation); E-mail: tat7093@yandex.ru

The article briefly covers the experience of using the music and computer technologies in the educational content of a Russian higher educational institution. The article presents the results of a scientific research on the development of the author’s structural and functional model of developing the special professional competencies of Bachelor students mastering the basic professional educational program in the sphere of music and computer technologies. For the research purposes, the full educational cycle of the basic professional educational program is based on studying the music and computer technologies and represented by five components, with the accent on the key, the information and computer component, as the most attractive for applicants, students, and employers. The article covers the importance of scientific and practical research of special professional competencies of Bachelor students in the dynamically developing industry of information and communication technologies of music and computer technologies. The author identifies the list of knowledge and skills, subject-related actions and professional operations, personal skills and experience of specialists in the sphere of music and computer type of professional activity. The author substantiates the integrative complex of special professional competencies in the sphere of music and computer technologies and the role of practical training at higher educational institutions in this process. The author’s definition of special professional competencies of Bachelor students in the sphere of music and computer technologies is formulated.The author has explored the specifics of developing the special professional competencies of Bachelor students in the conditions of students’ practical training at higher educational institutions.

110-118

Authors: Malygina Irina Viktorovna, Dr of Philosophical Sciences, Professor, Moscow State Linguistic University (Moscow, Russian Federation). E-mail: irinamalygina@yandex.ru

The article is devoted to the phenomenon of regional identity, cultural and economic contexts of its formation. The reasons of actualization of regional identity in post-Soviet Russia are considered. Among them are the features of cultural and historical dynamics and ethnogenesis, which led to the formation of regional specifics already at the early stages of the development of the state, as well as the socio-political reforms that took place in its recent history. The phenomenon of the crisis of Russian identity, which was manifested after the collapse of the USSR in the complication of its contours and the expansion of borders, is analyzed. Two different vectors of the dynamics of Russian identity are singled out in the post-Soviet period: on the one hand, to expand its foundations and form a transnational (civilizational) identity, and, on the other hand, to localize the grounds for identity and actualization of local, particularly grounds for social consolidation and identification. The author believes that these trends correspond to global trends in the dynamics of ethnocultural identity in the context of globalization. At the same time, each of the described processes differs the expressed national specificity. The point of view is argued that the active development of local/regional forms of identity in post-Soviet Russia was a kind of “sublimation” of searching for grounds for social consolidation in the cultural and symbolic environment of territorial loci in a situation of self-determination crisis. The dialectic of cultural and economic factors of regional development and the formation of local forms of identity are represented through the prism of the concepts of “cultural turn,” “new economic geography,” “impression economy” and “desire economy.”

124-132

Authors: Gordeeva Tatyana Yuryevna, PhD in Philosophy, Associate Professor, Kazan State Institute of Culture (Kazan, Russian Federation). E-mail: Gordeeva-muz@rambler.ru

The author of this article suggests a potential way of singing sound cultural space establishment from the standpoint of the theory of gesture and plastic basement of the art way of thinking. The determining factor of it is gesture and plastic mental activity of the psychoid unconscious. This mental activity is related with the phenomenon of “ineffable,” which infallibly arises when two interrelated though non-identical components - one of which is ideal and imagery and the other -- exemplified -- of singing sound meet, thus representing the entelechic basis of singing sound and singing culture in general. It possesses introversive and extroversive intentionality. The former is related with the spatial concept of a human, innate in the antenatal period of his existence. Extroversive intentionality invokes the emergence of various variants of sound substance dependant on shades of spiritual and gesture potential of psychoid unconscious (hand-like, flicker, mouth-like). The author suggests a process-dynamic model of the cyclic process of self-movement of singing sound. This theoretical model shows how the singing sound develops from itself, going through the following stages: “pre-sound – sound – post-sounding” by solving the sequence of situations of “nonequilibrium identity” initiated by each stage and each transition from stage to stage of singing sound. The formation of the singing culture takes place, therefore, as a result of the preservation and consolidation of the most successful invariants of the “removal” of the problems of “nonequilibrium identities” that accompany the entire “life cycle’ of the singing sound. This model explains the source of the artistic quality of the singing sound, which is associated with the “inexpressible”.

137-144

Authors: Fedorova Anastasiya Sergeevna, Applicant, Department of Fine Arts, School of Art, Culture and Sports, Far Eastern Federal University (Vladivostok, Russian Federation). E-mail: krasnas@inbox.ru

The article is devoited to the main components of the Great Mother archetype in the history of art, including Russian and Primorsky art. The current situation in the art revives interest by traditional values, which historically solve a problem of the value orientation, identification of Russian culture. The author focuses on the system of values at the turn of the XX-XXI centuries. Political and social events of the 1990s are reflected in the visual arts. But despite the external situation and internal changes, the image of common symbolsarchetypes, among which the Great Mother occupies an important position, is actualized in the artistic sphere. The main concern is the Great Mother in the Russian art. This aim may be achieved by comprehensive and thorough study of art-works of contemporary primorsky artists – Andrei Kamalov, Veniamin Goncharenko and others. Artists innovatively represent the image of motherhood, using the author’s techniques and techniques of the Old Russian art. Artists interpret the traditional forms of the iconographic image of the Mother of God, develop individual creativity and personal world views. The author considers the image of motherhood in the works of artists of socialist realism in the central region of Russia in 1960 – V.I. Ivanov, G.P. Yegoshin, I.S. Ivanov-Sapchev, V.E. Popkov and in the artistic movement “Socialist art” (Vitaly Komar). Thus, the given archetype passes a red line through all Russian art of the XX-XXI centuries. And can be considered as a value phenomenon of artistic creativity.The author emphasizes the special importance of the archetype of the Great mother and stress that in the Russian art are present the archetypes of the Tree of Life, the Hero, the archetypical concepts of the Road, Matsya, Stairs.

152-160

Authors: Kulemzin Anatoliy Mikhaylovich, Dr of Culturology, Professor, Leading Researcher, R&D Institute of Intercultural Communication and Sociocultural Technologies, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail:kulemzin41@mail.ru

Historical and cultural heritage has a huge potential in terms of information about the past. And the society can use this information for different purposes: to reconstruct authentic history and culture or to ideologically cultivate social consciousness. The article researches how objects of history and culture have been used for these purposes throughout Russian history from the time the state was formed up to date, and which forces have been involved in the process. Being created, scientific historic societies as well as state boards intending to preserve the heritage were led by the nobility or state authorities of high rank. Informal structures made up of clerisy and political opposition regarded the heritage a source of accurate information for scientific development and used i t for education purposes. Anyway, both parties agreed that the heritage had to be preserved. After the socialist revolution, the democratic forces were defeated the members of the parties were subjected to repression, many of them executed. After the Second World War all the attempts to revive democracy were constantly resisted by the government and the Central Committee of the CPSU. Only in the middle 1960s, as a result of scientists and clerisy’s enforcement, a public organization called All-Russian Society for the Protection of History and Culture Monuments was initiated. In today’s Russia, the attitude to the heritage was reconsidered. The ideological percepts were expelled from the legislation. On the other hand, the right to turn the objects of cultural heritage, which make up national heritage, into private property was incorporated into it. This regulation doesn’t improve the society’s consolidation and thus should be seized from the legislation.

168-174

Authors: Chernova Anastasiya Aleksandrovna, Senior Instructor, Museology and Documentation Department, Altai State Institute of Culture (Barnaul, Russian Federation). E-mail: 84stasia@mail.ru

In the article, the main stages of the museologists’ appeal to the term “document science” are considered. The notion of “document” is disclosed in the museum environment, the terms “museum object” and “document” are compared, and the chronology of use of these terms in the museum sphere, their philosophical comprehension and application in practical work is explored. At the beginning of the 20th century, the notion of “document science” in the museum was taken from axiological positions, which is characterized by a system of views of both domestic and foreign philosophers: N.F. Fedorova, and P. Otle. Philosopher Paul Ricoeur’s point of view, who is a representative of hermeneutics direction, about the documenting history process is noted separately. During the period of the establishment of Soviet power, the interpretation of museum terminology continued, and the notion of “document science” began to be used in the framework of museum institutions work. The creation of documenting theory in Russia refers to the 1980s, when the scientist A.M. Razgon was engaged in the development of this concept, which laid the foundation for the practical work of the museum in this direction. In his works A.M. Razgon proved the necessity of scientific approach to the procces of acquisition and accounting in museum work, so at the end of the 20th century the concept of documentation, as a rule, associated with the scientific fund museum work. At the present time, this concept has expanded and requires additional analysis. At present, documenting in the museum is understood in a narrow and broad sense, it is the basic social function of the museum and one of the scientific directions of museum idea.

181-191

Authors: Prokopova Natalya Leonidovna, Dr of Culturology, Associate Professor, Dean of Faculty of Directing and Acting Arts, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: n_prokopova@kemnet.ru Magdalena Zaorska, Associate Professor, PhD of Art History, University of Warmia and Mazury (Olsztyn, Poland). E-mail: magzaorska@gmail.com

The relevance of the themes associated with the positioning the theatre-pedagogical speech technologies based on the control role of imagination. It discusses historical, theoretical and methodical aspects of theatrepedagogical speech technologies. The purpose of the article relates to the argument of originality and effectiveness of theatre-pedagogical speech technologies based on the control role of imagination. Tasks related to the consideration of basic methodological grounds mentioned technologies, with a justification for their originality, with proof of their effectiveness, with the reasoning of their borrowing directions of preparation do not belong to the sphere of art. The originality of technologies based on a management role, justified through the facts of History, Theater Arts and Theatre Pedagogy. Focuses on the primacy of these theatre-pedagogical speech technologies, on their property to intensify the process of creativity. It considered theatre-pedagogical speech technologies, based on a management role, being positioned as the opening of a new strategy in theatre education. It presents method of integrated effects and methods of mediated effects on voice and speech and reveals the principles of construction of exercises of theatre-pedagogical speech technologies and criteria for their implementation. Effectiveness of theatre-pedagogical speech technologies is proved by their borrowing the humanities training areas. Specific examples of the use of theatre-pedagogical speech technologies are in the practice of speech therapists. The possibility of their use in practice of speech therapists is argued by the presence of common positions among the theatre-pedagogical and logopedic technologies. It presented and formulated their main characteristics in modern theatre-pedagogical technologies. It explains the reason for the effectiveness of the use of techniques of theatre pedagogy mediated effects and proved the effectiveness of their application in speech therapy. The feasibility of adapting theatre-pedagogical speech technologies in speech therapy relies on the arguments extending remedial teaching methods, practical methodology.

199-204

Authors: Moroz Tatyana Ivanovna, PhD in Philosophy, Assosiate Professor, Assosiate Professor of Department of Musicology and Music and Applied Arts, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: tatyana.moroz7@mail.ru Basalaev Sergey Nikolaevich, PhD in Culturology, Assosiate Professor of Department of Theatre Art, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: sat3@mail.ru

The features of manifestation of a phenomenon of theatricality in performing art are considered in the article, changes which are undergone by concert piano performance in the light of realities of modern art culture are displayed here. Theater, having the huge potential opportunities which are “genetically” put in it in modern culture acts as the universal basis for formation of new syntheses, considerably enriching the synthesizable elements, showing the hidden opportunities in them. Emergence of instrumental theater as one of the leading genres of modern musical art became a new stage of synthesis of theater and music. Theatricality is a concept with totality of means of expression, which creates a special reality, in which there are actors according to certain laws. Entrée of theatricality as a special property in musical performance is connected with introduction of the extra musical factor that consists of available director’s approach, free actor’s improvisation, inclusion of various plastic elements, special performance technique on the instrument, appeal to word and voice sound extraction, spatial movement on the stage. The interpretation of some types and signs of theatricality, which are shown in practice of modern piano performance is given in the article. Following the tendencies which are shown in staging the modern culture, mixture of genres, synthesis of arts, tool performance opens for itself the additional communicative potential which is expressed in emergence of one more semantic layer allowing to considerably broaden the semantic sphere of the modern art. Introduction of theatricality into musical art promotes new, deeper comprehension of music as reality, as a special art phenomenon.

209-213

Authors: Georgievskaya Olga Vladimirovna, PhD in Art History, Associate Professor, Associate Professor of Department of Musical Art, Institute of Culture and Arts, Moscow City Pedagogical University (Moscow, Russian Federation). E-mail: olgageo@rambler.ru

The analysis of some distinguishing characteristics of J.S. Bach’s texture is presented in the article. The example of one section of Bach’s clavier toccata in E minor is given to show them. It is a detailed examination of observed texture phenomena that permits to define fundamental effective forces of music development process and to reveal the interior dialectic of polyphonic and harmonic principles. As it is demonstrated, the universality of composer’s musical thinking is reflected in the texture of the fragment not containing a great number of notes. For instance, a series of texture transformations is described. Initially, unfolding the monophony makes to feel a harmony that is only implied by the melodic line. Then a many-voiced polyphony gradually is unfolded, originated from the same single voice. Finally, traditional polyphony techniques make it possible to emphasize the importance of harmony and to realize the leading force of harmonic hearing. Thereby, there is a significant parallel with global changes of creative musical thinking, the examples of which are given by the history of music. The results of the analysis have a profound effect on our understanding the specific features of Bach’s texture and musical language, his stylistics, as well as texture transformations in music generally. The proposed method of analysis is based on the synthesis of analytic and practical approach, theoretical study of the score and a performer hearing the sounding texture. Opening up the uncharted horizons and new perspectives for scientific research, this point of view is also promising to allow more thorough study and rich interpretation of Bach’s compositions.

221-226

Authors: Lesovichenko Andrey Mikhaylovich, Dr of Culturology, PhD in Art History, Associate Professor, Professor of Department of Folk Art Culture and Music Education, Novosibirsk State Pedagogical University (Novosibirsk, Russian Federation). E-mail: lesovichenko@mail.ru Shefova Elena Aleksandrovna, PhD in Art History, Associate Professor of Department of Musical Training and Socio-cultural Projects, Institute of Culture and Art, Lipetsk State Pedagogical P. Semenov- Tyan-Shansky University (Lipetsk, Russian Federation). E-mail: shefova_e@mail.ru

The interesting parts of the composers’ heritage of Borodin, Cui, Lyadov and Rimsky-Korsakov are the parts of collective works created by them. The article gives a description of “Paraphrases,” the only collection of light piano pieces in the history of music, consisting of twenty-four variations and fifteen different genre numbers for the unchanging children’s theme “Ta-ti, ta-ti.” “Paraphrases” are not a formal combination of variations, but an integral concert work created based on the joint work of four outstanding Russian musicians. On the title page of Paraphrases, the addressee is indicated: “It is dedicated to small pianists who can play a theme with one finger of each hand”. Borodin played these plays with humor“ with people who cannot play the piano”. Meanwhile, it may seem that the cycle is written in the spirit of musical fun and consists of some playful jokes. However, this is a formal side of the question. Obviously, the free form of “Paraphrases” and, in particular, variations, opened the possibility of practical application created by the Couchkists, the means of a musical language, to hear the topic in the new genre and stylistic conditions. Was the collaboration a simple hobby, a “genius joke” and if not then what are the reasons for writing such an unusual in every sense of the work? These and other issues are to be clarified in this article.

11-121

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

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

19-23

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

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

29-36

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

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

42-49

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

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

55-61

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

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

66-70

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

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

75-85

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

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

93-99

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

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

122-127

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

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

138-145

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

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

154-158

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

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

166-174

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

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

181-186

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

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

194-199

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

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

210-216

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

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

13-17

Authors: Maryina Marina Gumerovna, Zhukova Olga Ivanovna

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

26-33

Authors: Dyukin Sergey Gabdulsamatovich

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

40-45

Authors: Kabunova Elena Mikhaylovna

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

52-58

Authors: Suvorova Irina Mikhaylovna

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

63-68

Authors: Chesnokova Nataliya Alekseevna

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

72-79

Authors: Bashtannik Sergey Vasilyevich

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

94-99

Authors: Markov Viktor Ivanovich

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

105-110

Authors: Kasatkina Tatyana Aleksandrovna

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

117-125

Authors: Leonov Evgeniy Evgenyevich

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

131-143

Authors: Akparova Galiya Tolegenovna

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

149-154

Authors: Buksikova Olga Borisovna, Kuznetsova Natalya Stanislavovna

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

159-166

Authors: Melekhova Kseniya Aleksandrovna

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

173-180

Authors: Krylovskaya Izabella Ilyinichna

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

188-195

Authors: Zykov Aleksey Ivanovich

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

211-220

Authors: Eliseenkov Gennadiy Simonovich,

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