Abstract: This research explores the semiotic nature of the voice in animated films and live-action cinema featuring CGI characters. It examines a fundamental paradox: despite the inherent conventionality of the animated visual, viewers perceive the voice as the most authentic, "living" element. The study deconstructs the classical notion of the animated voice as an indexical imprint of reality, identifying alternative mechanisms for creating believability. The analysis moves from Michel Chion’s concept of vococentrism—explaining the voice's perceptual priority—to the semiotic mechanisms of iconicity and rendering. It investigates non-verbal voice components (identity, emotional clarity, source material) and verbal speech, showing how recording practices become integral to semiotic meaning-making. Methodologically, the paper applies Charles Peirce’s semiotics (via Rick Altman) and Chion’s audio-vision theory. Using comparative analysis and systematization of voice-acting practices, the theoretical propositions are supported by diverse animated film case studies. The scientific novelty lies in a semiotic model attributing the animated voice's authenticity to constructed iconicity and rendering rather than indexicality, thereby conveying plausibility without exactly copying reality. The voice does not reflect reality; rather, it constructs world and character identity through internal consistency and materializing sound indices (breathing, hoarseness, vocal imperfections). Furthermore, production practices like ensemble recording and location shooting consciously simulate an indexical trace, lending tangibility to the constructed image. Ultimately, in the digital age, the animated voice is a definitive semiotic construct: boundaries between recording and synthesis blur, and cinema is no longer «recorded» with a camera, but is literally «written» on a keyboard.

Keywords: animated film, voice in animation, indexicality, iconicity, rendering, vococentrism, verbocentrism, materializing sound indices, non-verbal voice, voice acting

Abstract: What exactly was built when engineers set out to build a system that, in Satoshi Nakamoto's founding words, would work "without relying on trust"? This article takes that promise philosophically rather than technically. It argues that public, permissionless blockchains do not merely reorganize payments, property, or law – the topics that dominate current blockchain scholarship – but transform the underlying conditions of human co-existence: trust as a relation that has an addressee, community as something borne in common, and time as something that can be retold and revised. The argument extends the author's ongoing account of "archontic machines," distributed structures that govern access to truth by counterfeiting it rather than forbidding it, and claims that blockchain is this machine's ultimate form. Methodologically, the study offers a qualitative structural analysis of four completed cases – irreversible key loss and the QuadrigaCX collapse, the NFT market cycle, mining and consensus mechanisms, and the 2016 Ethereum hard fork – each checked against primary sources. Three findings organize the results. Blockchain materializes what Lacan called the big Other, an instance of total registration, while amputating its desire: verification replaces recognition, and the record becomes a verifiable simulacrum – perfectly checkable, with its relation to truth removed. Consensus counterfeits genuine community (sobornost, in the Russian philosophical tradition): concerted action achieved by eliminating the participants' singularity. The append-only ledger produces accumulation without event, structurally prohibiting metanoia. Only the living who carry the machine proved able to reverse it – once, at the price of a schism that left two irreconcilable pasts. Against the influential reading of blockchain as a narrative technology, the article concludes that it is a technology that prevents stories from being told.

Keywords: blockchain, trust, archontic machine, the big Other, verifiable simulacrum, ledger-time, antimimon of sobornost, recruitment, metanoia, philosophy of technology

Abstract: The article analyzes the Russian experience in the digitalization of the cultural sphere, the formation of which took place within the framework of the strategy of technological sovereignty and ensuring social accessibility of cultural goods. The author examines the evolution of the regulatory legal framework and traces the stages of development of key digital platforms in the cultural sphere. The article substantiates the platform approach as the technological core of digital transformation, which ensures standardization, scalability, the "single window" principle, and technological sovereignty in culture sphere. The analysis of regulatory legal documents reveals how legal regulation created conditions for the transition from fragmented solutions in the digitalization of culture to ecosystem integration. Subject of the study is the process of digitalization of the cultural sphere in the Russian Federation, examined in the context of the formation and development of digital ecosystems based on platform solutions. The work employed a comparative approach to highlight the specific features of the Russian experience in digitalization of the cultural sphere. An institutional approach was used to study the role of state institutions in shaping the digital ecosystem of culture. The use of system analysis ensured a holistic consideration of digital transformation as a set of interrelated elements: the regulatory framework, the established infrastructure, and the proposed platform solutions. The novelty of the study lies in considering the platform approach as the technological core that ensures standardization, scalability, and the implementation of the principle of social accessibility of cultural goods.

Keywords: culture, digitalization, digitalization of the cultural sphere, Russian Federation, digital ecosystem, platform approach, platform, portal, regulatory legal system, technological core

Abstract: The aim of this study is to conduct a quantitative analysis of the artworks and illustrations published in the catalogue of documenta 5 (Kassel, 30 June – 8 October 1972), in order to determine the extent to which artists employed a form-generating strategy based on the presence, within a single work, of multiple repeating elements. The analysis seeks to identify works in which identical or equivalent elements function as interrelated parts of a unified artistic statement, whose expressive meaning is determined by their aggregate and their number. The article covers eight thematic sections of the catalogue Befragung der Realität – Bildwelten heute (Questioning Reality – Pictorial Worlds Today), comprising 171 artist entries corresponding to 205 individual works. This makes it possible to examine the prevalence of this strategy both at the level of individual sections and across the exhibition as a whole. The quantitative analysis is grounded in a specially developed classification system consisting of four evaluative criteria, which allows for the identification of works in which the multiplicity performs a significant form-shaping and expressive function. The significance of the study lies in the creation of a reproducible model of analysis that can be applied to other exhibitions, catalogues, and bodies of work, thereby ensuring the quantitative comparability of the resulting data. According to the results of the analysis, approximately 39% of the works assessed exhibit characteristics of multiplicity. At the same time, the distribution varies considerably between thematic sections, ranging from 100% in the Museen von Künstlern (Museums by Artists) section to 9.7% in the Realismus (Realism) section. These results indicate that the use of multiplicity in the documenta 5 exhibition was not incidental but followed a discernible pattern, correlating both with the internal structure of individual sections and with the exhibition's overall curatorial logic.

Keywords: documenta, multiplicity, seriality, repeating elements, serial art, minimalism, conceptual art, quantitative analysis, 1970s art, curatorial strategy

Abstract: The subject of this research is collaborative metro map design: models in which the designer relies on the professional canon and on data regarding passenger perception. The object of study is metro navigation infographics, primarily the line diagram as the main graphic design product of a transit system. The study aims to identify which principles of the global metro map canon retain justification when applied to Cyrillic typography and domestic networks. A comparative analysis of 31 global metro maps across 30 parameters was conducted. A passenger survey tested four key map parameters: letter case of labels, interchange representation, line geometry, and geographical background. Results were verified through an expert survey of specialists in graphic design and cartography. The theoretical foundation was shaped by the concept of the city image by Kevin Lynch and the sign typology by Charles Sanders Peirce. The design canon of metro maps was compared with the experience of domestic passengers for the first time. The study demonstrated that universal design norms are only partially applicable to Cyrillic maps. Straight lines and geographical landmarks are supported by passenger choices, whereas single contoured transfers and mixed case labels failed to gain confirmation. Differences in case perception are explained by the characteristics of Cyrillic graphics, where word silhouettes exhibit lower contrast. This dictates a solution based on toponym length, favoring uppercase for short names and mixed case for long ones. Divergence in interchange design is described as an opposition between iconic and indexical semiotic strategies: capsules are justified only at two line intersections, connector bars at nodes with three or more lines. A readability deficit in secondary map layers was also recorded, stemming from their partial absence in domestic practice, alongside a shift in navigational load from the map to station signboards.

Keywords: navigation infographics, graphic design, subway map, collaborative design, visual testing, user perception, Cyrillic typography, semiotics of the sign, design canon, navigational ecosystem

Abstract: The article is dedicated to the study of the semiotic status of a family heirloom (a Pavlov Posad scarf and an antique mirror frame), and the principles of compositional organization determined by the inclusion of genuine artifacts in the paintings of E.A. Titova. In Russian visual arts at the beginning of the 21st century, the appeal to family memory as recorded in material artifacts has become a noticeable trend. This highlights the research in the context of searching for new mechanisms of intergenerational transmission of experience and the preservation of identity. The subject of analysis is the transformation of a household item into a sacred amulet and a structuring element of the pictorial composition. Attention is focused on two types of relics: the scarf acts as a central "galaxy," organizing the circular rhythm of the ornament, while the mirror frame creates the effect of a "window" into an ideal reality, devoid of temporal coordinates. The semiotic function of the genuine artifact, which brings forth ancestral memory, is revealed. The methodology adopts an interdisciplinary approach, combining structural semiotic methods, phenomenology of the object, iconographic analysis, and historical-cultural methods, allowing the work to be viewed as a complex semiotic text where the artifact serves as a carrier of ancestral memory. Elements of formal stylistic analysis and comparative methods are also used. For the first time, a series of works by E.A. Titova that include family heirlooms becomes the subject of special analysis, resulting in the identification of two types of compositional structures. The semiotic function of the genuine artifact as a structuring element, a bearer of family memory, is revealed. Parallels are drawn with the tradition of Russian lubok, icon frames, and the "World of Art." An актуальный foreign context is introduced into scientific circulation, allowing the creativity to be considered in line with the trends of contemporary art that address material memory. An original method is justified, whereby the artifact is returned to the family-owner, acquiring the status of a sacred amulet. The results of the research can be used in art historical and cultural studies, museum and exhibition activities, and educational courses in art history and cultural studies. In the work of E.A. Titova, an original system has developed, where a household item transforms into a sacred amulet, and decorative elements become a means of visualizing the "spiritual circulation" and connection to ancestral memory. The proposed approach, deeply rooted in the national cultural tradition, is in demand in the global context of contemporary art.

Keywords: Titova E.A, family relic, pavlovoposad shawl, ancient mirror, semiotics of things, decorative painting, family memory, sacred amulet, cosmos of the clan, memory carrier

Abstract: The subject of the research is the phenomenon of "spirit of place" (locus / genius loci) in the landscape painting of Xinjiang and the historical and cultural prerequisites for the formation of the regional School of Painting in the style of the Western region. The aim of the work is to identify how the interaction of diverse cultural codes has led to the establishment of a unique and continuously evolving visual system. The analysis considers the specifics of artistic and creative interpretations of the landscape by representatives of this school: from symbolic readings of natural forms to plastic interpretations of cultural and historical space. Special attention is paid to the synthesis of aesthetic norms and techniques derived from folk art, philosophical and religious teachings, as well as other artistic centers, including the Russian-Soviet artistic tradition, and the mechanisms of transmission of visual motifs that have contributed to the layered nature of the visual language. Cultural-historical and iconographic methods, as well as a comparative approach, were employed to compare traditional and modernized interpretations of the landscape. A semiotic analysis of the symbolism of natural and cultural elements was conducted, allowing for the characterization of the stable imagery system of the region. The complex approach revealed how the historical and cultural dynamics of the region have been embedded in stable artistic practices and formed a recognizable stylistic identity for the school. The scientific novelty lies in the identification of stable visual codes that reflect the specifics of spatial perception in the culture of Xinjiang and in the analysis of their evolution within the establishment of the local artistic school. For the first time, key markers of the "spirit of place" in the landscape painting of the region have been systematized—from symbolic motifs to plastic techniques that capture the features of the landscape and the ethnocultural context. The main results demonstrate that regional identity in painting was embodied through synthesis: on one hand, through reliance on a rich color palette and decorative techniques of folk art, and on the other hand, through the appropriation of academic and traditionally Chinese traditions. This synthesis has allowed for the formation of a recognizable artistic language of the Xinjiang school, in which local imagery and intercultural artistic strategies are organically combined.

Keywords: Xinjiang, landscape painting, sense of place, artistic synthesis, regional art school, Silk Road, Buddhist art, landscape iconography, painting school, cultural identity

Abstract: The subject of this research is the representation of the image of creoles in the perception of colonial administrators – viceroys and high-ranking officials – in the Viceroyalty of Peru in the first half of the 18th century. The study focuses on how and under what circumstances individuals from Spain, holding key positions in the colonial administration, described and categorized the local elite – descendants of the first conquistadors and colonizers – in their official reports to the monarch. The analysis is conducted in the context of the strained relations between Spain and Britain, which culminated in the War of Jenkins' Ear (1739–1748), and the resulting threat of losing control over American territories, exacerbated by internal contradictions within the colonial system. The application of source analysis and a complex set of methodological approaches – the history of ideas in the tradition of the Cambridge School, historicism, as well as historical-linguistic analysis – enables the reconstruction and accurate interpretation of the semantic content of the reports by the viceroys. For the first time in national and foreign historiography, a systematic study of the perception of creoles has been undertaken not from the perspective of the creoles themselves (their identity, role in independence wars), but from the standpoint of the colonial administration – the Spanish viceroys. The novelty of the research lies in revealing how exactly the viceroys and high-ranking administrators imagined and described the local natives and what characteristics they attributed to them. An additional novelty is introduced by the analysis of the terminology used in official documents and the observation that the word "creole" is virtually absent from the reports, giving way to descriptive phrases. Based on the reports of the viceroys of Peru, it can be concluded that creoles were not categorized by the administrators as a separate group and appeared in documents predominantly in the context of ecclesiastical conflicts. Spanish officials attributed negative traits to them, but acknowledged that these qualities were formed by the discriminatory policies of the metropolis itself. The educated and legally literate elite, excluded from secular governance, focused on defending their rights in the ecclesiastical sphere. The conspiracy of 1739 showed that discontent was accumulating within the creole group, which was capable of escalating into open resistance.

Keywords: Spanish Empire, West Indies, War of the Asiento, Peru, colonial policy, Creole, viceroy, War of Independence, colonial administration, church

Abstract: There is a fundamental difference between philosophy and art in the way the Absolute is presented. The subject of research is this difference viewed through the prism of the universal (in philosophy) and the particular (in art). The author examines in detail such aspects of the topic as the interpretation of these relationships in German idealism, namely the positions of Schelling and Hegel. Special attention is given to analyzing why Schelling asserted the equal ontological status of art and philosophy, while Hegel assigned philosophy a higher status. The question of whether this hierarchy is universal is also analyzed. The article aims to reveal the specifics of the relationship between philosophy and art through a comparative analysis of Chinese and Western cultural traditions. The author shows that the opposition between the universal and the particular can have different meanings depending on the cultural context. The methodological foundation of the research consists of a comparative analysis of Chinese and Western cultural traditions, as well as a historical-philosophical method of reconstructing the teachings of German idealism. The work suggests that the issue of the relationship between philosophy and art is considered not as an absolute ontological given, but as a culturally conditioned construct for the first time. The author argues that differences in context give rise to different models of relationships between the artist and the philosopher. The main conclusions of the research are as follows. In the Western tradition, especially in German idealism, philosophy and art often compete for the right to express the Absolute. In the Chinese cultural tradition, this competition may be absent or take fundamentally different forms. Thus, the opposition of the universal (philosophy) and the particular (art) is not a universal law. It depends on the specific cultural-historical environment. Therefore, the problem has a culturally conditioned rather than absolute nature. The author concludes that philosophy and art can coexist in different ways: in one culture, philosophy predominates; in another, they are equal; in a third, their relationships are based on different foundations. This conclusion opens new perspectives for comparative studies of aesthetics and philosophy in different civilizations.

Keywords: Art, Artist, Philosophy, Philosopher, Problem of Interrelation, Chinese Painting, Beauty, Creation, Tradition, Unity

Abstract: The subject of this study is cultural codes as mechanisms for the symbolic construction of the PR image of a public communication subject within the sociocultural space. At the center of the analysis, public relations is viewed not as a set of applied promotional technologies, but as a deeper cultural process through which an organization, institution, brand, or individual acquires not only informational visibility but also a culturally recognizable form of presence. Particular attention is paid to how cultural codes link public messages to the collective experience of the audience, value differences, established symbolic expectations, and rules of interpretation. From this perspective, the PR image is viewed not as an external image shell and not as a simple sum of textual, visual, narrative, ritual, and behavioral elements, but as a cultural-semiotic construct through which the subject acquires a specific public role, a value position, and a symbolic right to speak. The methodological framework of this study is based on a cultural studies approach, a semiotic approach, an axiological interpretation, and the method of theoretical and conceptual modeling. The paper proposes an analytical model that allows us to trace how a cultural code takes the form of symbolic expression, enters a public text, and, through the audience’s interpretation, either solidifies or disintegrates as a PR image. The scientific novelty of this article lies in the fact that public relations is viewed as a practice of culturally shaping public subjectivity. It is demonstrated that a PR image is not merely the sum of text, visuals, narrative, ritual, and behavior. Rather, it constitutes a synthetic cultural form in which cultural code serves as the structuring principle. It is revealed that the key risks of public relations are associated not only with errors in the channel, strategy, or message, but also with violations of cultural logic: a conflict of registers in the actualization of the cultural code, the decorative use of cultural signs, contextually alien or inertial coding, as well as audience recoding. It is concluded that the cultural code serves as the internal mechanism for the semantic organization of PR communication, as it is precisely this code that transforms the subject’s informational presence into a publicly readable image.

Keywords: public relations, cultural code, symbolic construction, sociocultural space, PR image, public subjectivity, cultural mediation, cultural semiotics, media culture, cultural legibility

Abstract: The subject of this study is the image as a sociocultural form of actualising and conveying generational values within the realm of contemporary media culture. In this context, image is understood not as an external characteristic of the subject, nor merely as the result of visual construction, but as a specific mode of symbolic representation of value-based experience, through which generational identity acquires a publicly recognisable expression. What becomes significant is not the mere fact of creating an image, but its participation in the processes of cultural reproduction, intergenerational communication, and the adaptation of values to the conditions of a visually saturated digital environment. The image captures the connection between a generation’s collective experience, its notions of freedom, sustainability, authenticity, openness, professionalism and social responsibility, and the iconic forms through which these notions enter media-cultural circulation. The methodological basis of the study comprises cultural studies, semiotic, axiological and comparative-interpretative approaches. The cultural studies approach allows us to view the image as an element of symbolic exchange; the semiotic approach as a system of signs through which values take on a visible form; the axiological approach as a method of analysing the value content of a public image; and the comparative-interpretative approach as a tool for comparing different generational ways of interpreting the image. The novelty of this study lies in shifting the focus from the question of how an image is visually constructed to the question of its subsequent cultural impact: how generational values, once given visual form, begin to circulate within media culture and are subject to interpretation, reinforcement or substitution. The conclusion drawn is that the image plays a dual role: it is necessary for the visibility and transmission of generational values, but in media culture it can transform them into simplified visual clichés if the image loses its connection with actual communicative practice. The analytical basis of the study is not individual examples, but recurring image characteristics typical of Russian digital media culture and particularly noticeable in the representations of Generations Y and Z: visual style, the tone of public discourse, the degree of formality, models of self-presentation, as well as ways of demonstrating professionalism, openness and authenticity.

Keywords: image, generational values, media culture, cultural translation, visual representation, generational identity, cultural memory, symbolic exchange, intergenerational communication, public relations

Abstract: The subject of the present study is the body of ethnographic works by Chinese scholars devoted to the Tuvans. Two groups of sources are in focus: works describing the Tuvan population of the Xinjiang Uygur Autonomous Region of the PRC, where this group of about 3,000 people is administratively classified as part of the Mongolian nationality and compactly resides in the villages of Khomu, Baihaba and Kanas in the Altai region; and a limited range of publications addressing the Tuvan community of the Republic of Tuva in the Russian Federation. The article sequentially analyzes five thematic areas: the formation of the foundational source base, linguistic issues, music and folklore studies, the dynamics of cultural transformations and identity, and cross-border comparative studies. The methodological basis of the work is a systematic literature review. The search was conducted in the CNKI database; from 47 initially identified publications, after applying inclusion/exclusion criteria, 15 sources were selected, forming the final corpus of analysis. The study shows that the most substantial results have been achieved by Chinese scholars in the field of linguistic description and the study of Tuvan musical folklore. At the same time, field research directly on the territory of the Republic of Tuva has not yet become systematic, and the empirical base for cross-border comparisons remains uneven. The scientific novelty of the work lies in the fact that it is the first review article to reconstruct a holistic picture of Chinese Tuvan studies and to formulate the structural asymmetry of the research field as an independent diagnostic conclusion. The material may find application in planning comparative cross-border projects, in activities for documenting the Tuvan language, and in organizing ethnographic fieldwork in the Altai macro-region. As verifiable hypotheses for future research, propositions are put forward regarding the dependence of language preservation on tourist load, the convergence of identity models under the influence of digital media, and the impact of different classification systems on language planning strategies.

Keywords: Tuvans, Chinese ethnography, Tuvan language, khöömei, musical folklore, cultural transformations, ethnic identity, cross‑border peoples, literature review, Russian–Chinese academic cooperation

Abstract: This article analyzes the current research on the Chinese sociocultural phenomenon of tanping and summarizes key aspects of existing studies: sociocultural pressures on Chinese youth, psychological changes influencing life choices, and the role of media platforms in the dissemination of tanping culture. The relevance of this work lies in the presentation and conceptualization of a new phenomenon in medical anthropology—tanping. The object of this study is tanpingzu (people living according to the principles of tanping). The functions of specific idioms of distress are also analyzed and the micropolitics in the transformation of tanping semantics are described. It is demonstrated that tanpingzu is not so much a social group as a way of self-identifying Chinese youth of a certain generation. The semantics of tanping are transformed through the process of its interpretation. The idiom of distress, "tanping," borrows psychological and medical terms, as well as local cultural resources, to represent suffering and performs psychological and social functions. The methodology is based on the application of the concept of the idiom of distress from medical anthropology to the analysis of youth culture. The study draws on a variety of field sources: 30 interviews with Chinese young "tanpingzu," media reports, and publications in Chinese-language online forums. This paper uses an emic approach to interpret "tanping" in the local cultural context. The new social phenomenon of "tanping" is not a static cultural label, but a dynamic idiom of distress that reflects the social reality of post-COVID China and serves as a means of expressing suffering. From the perspective of the object of study, "tanpingzu" is not a fixed category, but a self-identity of Chinese youth who adhere to the principles of Tanping ideas. The majority of "tanpinzu" actively expressing their opinions online are urban youth with higher education, aged 20 to 30, with a high proportion of unmarried women who hold low-pressure jobs with a stable income in the public sector or live on various part-time jobs. The semantic transformation of "tanpin" occurs as it is interpreted by different social groups. The discourse of "tanpin" borrows various psychological and medical terms and local cultural resources to express suffering, fulfilling psychological and social functions.

Keywords: Tanping, idiom of distress, medical anthropology, Chinese society, involution, youth culture, sociocultural phenomenon, stress, social media, neologism

Abstract: The article is dedicated to the attempt to justify the creation of a scientific and methodological restoration center based on the storage facility of state museums in Kuzbass, which will allow for the consolidation of resources and knowledge to address the issues of preserving museum items. According to the author, this is one of the priority areas for preserving the cultural and historical heritage of the region. In recent years, new branches of the federal Center for Art Restoration named after Grabar have been opened in Kaliningrad, Krasnoyarsk, and Vladivostok. Much of this has been made possible by the implementation of federal projects "Cultural Environment" and "Creative People." The establishment of a scientific and methodological restoration center in Kuzbass serves as a crucial tool for improving the system of protecting regional cultural and historical values. The author outlines the tasks of the regional scientific and methodological restoration center: the development and implementation of innovations; the center is engaged in creating and testing advanced methods for diagnosing the condition of works of art and architecture, developing effective restoration methods based on the latest achievements in science and technology. The scientometric research method has allowed for the identification of both the total volume of storage units in the museum fund of Russia and that of Kuzbass. Priority tasks in the field of museum development in recent years have included activating the cultural potential of regions and smoothing out regional disparities by increasing exhibition projects in the regions of the Russian Federation. Additionally, creating conditions for promoting Russia's cultural heritage, including strengthening the material and technical resources of state and municipal museums as centers for preserving unique examples of Russian and world culture, as well as involving museums in activities aimed at forming a positive image of Russia. Besides the establishment of the scientific and methodological center itself, the thesis is put forward regarding the necessity of its representation in the information space, and a website structure is proposed. Thus, the creation of a website for the scientific and methodological restoration center of museum collections in the Siberian Federal District will expand the center's operational capabilities, identify it in the information space, and attract the attention of the museum community.

Keywords: depository, scientific and methodological center, restoration, material heritage, intangible heritage, website, museum fund, information image, heritage preservation, museum piece

Abstract: The subject of the study is archetypal images and models of collective experiences of war, presented in Soviet Combat Film Collections No. 10 and No. 12 during the Great Patriotic War. The article analyzes stable character, plot, and visual constructs through which military reality is given a morally meaningful and emotionally expressive embodiment on screen. Special attention is paid to the images of the child, mother, fighter, child-partisan, civilian, and enemy as key elements of the symbolic structure of military screen narratives. It examines how these figures shape perceptions of suffering, resistance, sacrifice, protection, national unity, historical memory, and the moral righteousness of struggle. The study also investigates how the brief novella format of the film collections allows for the connection of individual human fate with the overarching historical meaning and the collective emotional experience of the people. The methodology combines historical-cinematographic, cultural, and structural-semiotic approaches. This enables an exploration of the poetics of combat film collections within the context of Soviet war cinema, interprets screen images as carriers of key cultural meanings, and reveals enduring motifs, character types, and ways to connect individual experiences with collectively understood meanings. The novelty of the research and its conclusions lie in considering Combat Film Collections No. 10 and No. 12 as operational means of influencing the formation of public consciousness, as well as an independent phenomenon of Soviet screen culture, in which a unique language of collective experiences of war is formed. It is demonstrated that the brief structure of the film collection in the form of novellas provided high semantic and emotional concentration, linking documentary relevance with artistic typification. It concludes that archetypal images in combat film collections served both an agitational and a cultural-memorial function, participating in the early formation of stable models of perception of the Great Patriotic War in Soviet public consciousness, and in the creation of the images of the enemy and the hero of the country.

Keywords: Soviet cinema, Great Patriotic War, combat film collection, screen image, archetype, child image, mother image, film propaganda, collective memory, Soviet screen culture

Abstract: This article examines how Spanish Golden Age playwrights approached theatrical texts, which essentially served as clearly structured frameworks for future stage productions. This paper briefly outlines the development of musical theatre in Spain during the Golden Age and the emergence of the unique musical-dramatic genre of the zarzuela. The specific nature of the zarzuela also influenced the playwright's approach to dramatic material, the stage area, actors and audience. This study aimed to demonstrate the relevance of comparing the work of a Spanish Golden Age playwright with a director's treatment. The object of the study is the zarzuela Los celos hacen estrellas by Juan Vélez de Guevara. The study focused on the text of the composition itself, comprising the loa, the two acts of the play, the interlude, and the mojiganga, as well as certain well-known features of the production of plays performed on the Spanish stage during the Golden Age. The main research method employed was theatrical reconstruction, which allowed us to trace the ways in which a performance was structured using images, details embedded in the text and hidden stage directions, by using a specific dramatic work as an example. This study is novel in that the zarzuela in question has not been translated into Russian and has not attracted the attention of theatre researchers with regard to the interplay between dramaturgical and directorial elements. Juan Vélez de Guevara’s zarzuela Los celos hacen estrellas is one of the few surviving stage texts in its original form. Not only is the text of the main play known with certainty, but also texts of all the minor genres with which the dramatic acts were to alternate. A thorough analysis of the body of texts comprising Juan Velez de Guevara’s zarzuela has confirmed the view held by some theatre historians that, in the pre-directorial era, it was the playwright who was responsible for the overall scenic appearance of the stage production.

Keywords: Zarzuela, Juan Vélez deGuevara, Spanish theatre, the Golden Age, director’s treatment, stage directions, allegorical undertone, interludes, minor genres, music drama theatre

Abstract: The subject of the research is the flute culture of Russia and China as an integral historical, cultural, musical and performing phenomenon that is formed in various civilizational conditions and reflects the specifics of national artistic traditions. The work examines in detail the features of the formation and development of flute art, types of flute instruments, performing styles, pedagogical teaching models and repertoire preferences in Russian and Chinese musical culture. Special attention is paid to the relationship between traditional and Western European academic forms of flute performance, the mechanisms of their interaction and mutual influence, as well as the processes of adaptation of the European flute in the context of the Chinese musical tradition. The subject of the research includes an analysis of aesthetic attitudes, socio-cultural functions of the flute and its role in the formation of an intercultural musical dialogue between Russia and China. The methodological basis of the research consists of historical, cultural, comparative, typological and systematic methods, as well as an analysis of scientific sources by Russian and Chinese authors, archival materials, pedagogical treatises and musicological research. The main conclusions of the conducted research are the provisions that the flute culture of Russia and China represents two fundamentally different models of historical and cultural development of the same musical instrument. It is established that the Russian flute school was formed along the line of consistent academic institutionalization, based on the Western European performing and pedagogical tradition, whereas the Chinese model is syncretic in nature and is based on the parallel existence and interaction of the traditional bamboo and European flute. The author's special contribution to the research is to identify the role of the Russian flute school in the formation of the Chinese flute education system in the 20th century, as well as to substantiate the influence of differences in worldviews on performing styles and pedagogical approaches. The scientific novelty of this study lies in the fact that the flute culture of Russia and China is considered not as a set of disparate historical facts, but as two different models of cultural adaptation of the instrument.

Keywords: musical instrument, bamboo, bone, academic, western, flute, playing art, flute culture, music pedagogy, intercultural dialogue

Abstract: The subject of the research is the process of formation and development of the art of playing the saxophone in Europe, North America and Asia as a set of performing, pedagogical and socio-cultural practices. The paper examines the features of the formation of national saxophone schools, including the institutional conditions of their formation (military orchestras, conservatories, university programs), timbre and technical performance settings (sound ideal, breathing support, articulation, working with registers), as well as repertoire and communicative models of using the instrument in academic and jazz traditions. Special attention is paid to identifying regional differences in the interpretation of the expressive possibilities of the saxophone and their dependence on the historical, cultural and educational context. The subject of the research also includes an analysis of the mechanisms of mutual influence of European, American and Asian performing traditions and their role in shaping modern global saxophone culture. The methodological basis of the research consists of historical, cultural, comparative, analytical and systematic approaches that allow to consider the saxophone performance in the context of national musical traditions. The research uses methods of source analysis, typological comparison of performing schools and interpretation of pedagogical and performing practices. The main conclusions of the study are the provisions that the development of the art of playing the saxophone on the European, North American and Asian continents is due to a combination of institutional, performing and socio-cultural factors. It is established that the European tradition formed the academic foundations of saxophone performance, the North American school provided a synthesis of academicism and jazz improvisation, and the Asian model demonstrated the high adaptability of Western techniques to national cultural conditions. The scientific novelty of the research lies in the comprehensive consideration of saxophone culture through the interaction of institutional, timbre-technical and repertoire-communicative aspects. For the first time, the position is substantiated that the national specificity of saxophone performance is determined not by the constructive features of the instrument, but by the norms of sound, performance phrasing and pedagogical tradition that have developed in each cultural environment.

Keywords: saxophone, performing school, academic tradition, jazz practice, timbre, articulation, teaching methods, institutionalization, cultural adaptation, intercultural dialogue