Abstract: The subject of this research is the art practices of Weimar Germany, first and foremost displayed in photomontage works of the Dadaist artists, as well as paintings and photographic compositions of the representatives of “New Objectivity” since the early 1920s until coming to power of the Nazi in 1933. The relevance of this topic is substantiated by the heightened interest of modern researchers in the cultural processes of the early XX century, which had a significant impact upon the establishment of modern visual imagery system. Within the framework of study, the author also touched upon the problem of assimilation of modern art practices associated to the integration of art into all spheres of social life. The interpretation of this trend is one of the most relevant vectors of modern art history. The novelty of this work lies in the use of complex methodology that implies the unity of socio-analytical and philosophical-anthropological approaches, as well as the method of structural-semiotic analysis that leans on both classical theories and works of the contemporary art historians and culturologists of post-structuralism (P. McBride, R. Krauss, B. Buchloh, P. Stettler, and others.). The result of the conducted research lies in determination of interinfluence of photomontage practices of the Dadaists and the art of “New Objectivity”, which clearly demonstrate the “landmark” nature of the works created during the indicated historical period. The acquired conclusions may be valuable for further research of the German art of “New Realism”, reflected in the works of the artists of “New Objectivity” and “Magic Realism”, and as well as the upcoming trends in art of the XX century.

Keywords: structuralism, political art, narrative, new objectivity, photomontage, dadaism, new realism, Weimar Germany, social history of art, degenerate art

References:
Ben'yamin V. Proizvedenie iskusstva v epokhu ego tekhnicheskoy vosproizvodimosti / Izbrannye esse, predisl., sost., per. i prim. S.A. Romashko. M., Medium, 1996. – 240 c.
Blokh E. Nasledstvo nashego vremeni// Tyubingenskoe vvedenie v filosofiyu. Ekaterinburg, 1997. – 400 s.
Bukhlo B. Sotsial'naya istoriya iskusstva: modeli i ponyatiya // Foster. Kh, Krauss R., Bua I-A., Bukhlo B., Dzhoslit D. Iskusstvo s 1900 goda. Modernizm. Antimodernizm. Postmodernizm. Ad Marginem Press, M. 2015. S. 22-32.
Krauss R. 1920. Yarmarka Dada v Berline //Foster. Kh, Krauss R., Bua I-A., Bukhlo B., Dzhoslit D. Iskusstvo s 1900 goda. Modernizm. Antimodernizm. Postmodernizm. Ad Marginem Press, M. 2015. S. 174-180.
Mal'ro A. Golosa Bezmolviya. SPb.: Nauka, 2012. – 870 s.
Tugenkhol'd Ya.A. Khudozhestvennaya kul'tura zapada. Gosudarstvennoe izdatel'stvo. Moskva, Leningrad, 1928. – 191 s.
Foster. Kh, Krauss R., Bua I-A., Bukhlo B., Dzhoslit D. Iskusstvo s 1900 goda. Modernizm. Antimodernizm. Postmodernizm. Ad Marginem Press, M. 2015. – 816 s.
Fu

Abstract: This article is dedicated to the questions of existence and preservation of the folk song tradition in Russia. The author underlines the place and role of the Russian folk song within the national culture as a collective folklore notable for its profusion and diversity. The goal of this work consists on the analysis of systemic changes currently unfolding in the folk-song culture, identification of their caused and forecasting of results of the determined characteristic trends. Functionality of the song folklore in the scenic conditions is viewed as a factor of transformation of the folk music culture. In the course of this research, the author leans on the diachronic method of culturological analysis; as well as applies the comparative-historical and structural functional approaches. The article determines the positive and negative aspects related to innovation processes within the folk music culture; as well as suggests a set of measures aimed at preservation and popularization of the folk song art. The author underlines that the Russian folk song is an important component of the country’s cultural and historical heritage.

Keywords: musical culture, folk songwriting, song folklore, authenticity, stage conditions, transformation, preservation, folk song tradition, russian folk song, cultural studies

References:
Savel'ev V. V. Regional'naya kul'turnaya politika: tendentsiya razgosudarstvleniya // Upravlenie, liderstvo, menedzhment: istoriya, teoriya, praktika: sb. statey. – Arkhangel'sk: Pomor. gos. un-t im. M. V. Lomonosova, 2001. – Vyp. 3. – S. 260.
Shulepova E. A. Nasledie v problemnom pole istoricheskoy kul'turologii // Kul'turologiya: ot proshlogo k budushchemu: K 70-letiyu Rossiyskogo instituta kul'turologii. – M.: Ros. in-t kul'turologii, 2002. – S. 171-179.
Kargin A. S. Fol'klor v sovremennom sotsiokul'turnom prostranstve: ot povsednevnoy praktiki do elitnogo dosuga // Kargin A. S. Pragmatika fol'kloristiki: sb. statey, dokladov, esse. – M.: Gos. respubl. tsentr rus. fol'klora, 2008. – S. 142-160.
Mikhaylova L. I. Sotsiologiya kul'tury: ucheb. posobie. – Izd. 2-e, dop. – M.: Dashkov i K, 2004. – 343 s.
Zemtsovskiy I. I. Vvedenie v veroyatnostnyy mir fol'klora: (K probleme etnomuzykovedcheskoy metodologii) // Metody izucheniya fol'klora: sb. nauch. tr. – L.: LGITMIK, 1983. – S. 15-31.
Dmitriy Pokrovskiy. Zh

Abstract: The object of this research is the style issue in the works of British architect of the late Victorian era Richard Norman Shaw. The subject of this research is the area that holds an especially important place in Shaw’s works – the suburban homes, because namely the suburban architecture becomes a so-called litmus paper that allows determining the processes that take place in British architecture over the last decades of the XIX century. The article also analyzes the projects of his contemporary and colleague George Devey. The elements of volume-spatial composition, façade composition, and architectural décor of the suburban homes of British architect are subjected to a comprehensive art analysis. The following conclusion was made: in the end of the Victorian Era, the suburban architecture in England experiences a crisis associated with the loss of value of the land property for social status of its owner. Thus, property sized become smaller and suburban homes turn into the new role model. A modest farm cottage rather that a manor house inspires the new-generation architects, particularly R. N. Shaw, which inevitably leads to the substantial transformation of the stylistics of suburban homes.

Keywords: Old English style, George Devey, Richard Norman Shaw, Late Victorian epoch, stylistic tendencies, English estate, country house, British architecture, vernacular style, Cragside

References:
Airs M. Victorian Great House. Oxford, 2000.
Aslet C. Last Country House. L., 1982.
Blomfield R. Richard Norman Shaw. L., 1940.
Calder J. Victorian Home.L., 1977.
Calder J. Victorian and Edwardian Home from old photographs. L., 1979.
Crowley D. Introduction to Victorian Style. Royston, 1998.
Curl J. S. Victorian Architecture. Neuron Abbot, 1990.
Dixon R., Muthesius S. Victorian Architecture. L., 1978.
Dutton R. Victorian Home. L., 1954.
Franclin J.Gentleman's Country House and its Plan. 1835-1914.L., 1981.
Girouard M. Sweetness and Light. The Queen Anne Movement 1860-1900.Oxford, 1977.
Girouard M. Victorian Country House. New Haven and L.,1985.
Hitchcock H.-R. Architecture: Nineteenth and Twentieth Centuries.Harmondsworth, 1982.
Saint A. Richard Norman Shaw. New Haven and L., 1976.
Steegman J. Victorian Taste. A Study of the Arts and Architecture from 1830-1870. L., 1970.
Summerson J. Victorian Architecture: Four Studies in Evaluation. NY, 1970.

Abstract: This article is dedicated to the important in development of design period (1931-1942) that is known as Art Deco. The author reveals its overall stylistic orientation, including the presences of Art Deco trends in the early Stalinist style. The examined period (decade of Art Deco dominance) is viewed as a sequence of alternation of the four stylistic trends, referred to as a famous in theory of design functional, grades, and circular stylization  and their synthesis of the late 1930’s. General methodology of the research is systemic genetics, and partially the cycle theory, including the author’s variation in existential form of both. The main conclusion of the conducted research consists in the fact that the genesis of Art Deco is a transitional state from purely engineering manner of the 1920’s to the baroque and decadent manner of engineering style of the 1940’s – 1950’s. This is demonstrated by the reviewed states of Art Deco style that differ in their form.

Keywords: Stalinist style, streamline, XX century, mentality, culture, design, style, history of design, Art Deco, skyscrapers style

References:
Khan-Magomedov S.O. Konstruktivizm. Kontseptsiya formoobrazovaniya. M.: Stroyizdat, RAASN, NIITAG, 2003. 574 s.
Chizhevskiy A.L. Kosmicheskiy pul's zhizni. Zemlya v ob'yatiyakh Solntsa. Geliotaraksiya. M.: Mysl', 1995. 768 s.
Favorskiy V.A. Zabyt' igru v inzhenera // V sb. «V.A. Favorskiy Literaturno-teoreticheskoe nasledie». M.: Sovetskiy khudozhnik, 1988. 588 s.
Sternou S.A. Art-deko. Polety khudozhestvennoy fantazii. Mn.: Belfaks, 1997. 128 s.
Lavrent'ev. A.N. Istoriya dizayna: uch. posobie. M.: Gardariki, 2007. 303 s.
Mikhaylov S.V., Mikhaylova A.S. Istoriya dizayna. Kratkiy kurs: ucheb. dlya vuzov. M.: Soyuz dizaynerov Rossii, 2004. 289 s.
Medvedev V.Yu. Stil' i moda v dizayne: uch. posobie. 2-e izd., ispr. i dop. SPb: SPGUTD, 2005. 256 s.
N'yu York deko. Fotografii R. Berentkhol'tsa (na angl. yazyke). N'yu-York – San Frantsisko, Welkome Books, 2005. 162 s.
Runge V. F. Istoriya dizayna nauki i tekhniki: uch. posobie: v 2-kh kn. M.: Arkhitektura-S, 2006. Kn. 1. 368 s.
Bystrova T.Yu. Veshch'. Forma. Stil': Vvedenie v filos

Abstract:  
The subject of this research is the development of design over the period of 1942 – 1960’s. This period is not sufficiently studies within the history of design. The difficulty of coverage of the regularities of this stage consist in the fact that a part of it falls on the period of the World War. Considering such specificity, the author forms an image of development of the European and American design. The European line of design originate the new style, while the American acquires them with a delay. This period in the history of design is presented based on the cyclical methodology. The author applies method of existential systemogenetics, which is the progression of the general systemogenetics and technogenetics, theory of cycles, and theory of mentality. The new aspect consists in examination of the period from 1942 to 1953 as stylistically homogeneous, characterized by the decadence of engineer style. The work introduces the new notions about the “postponed development” within the stylistic tends due to the war, which explains the bloom of the “Detroit Baroque”. The author establishes the unity of formal trends in “Stalinist Baroque” and “Detroit Baroque”.
 

Keywords: Ulm School, XX century, mentality, culture, design, style, history of design, Stalinist style, Braun style , Detroit Baroque

References:
http://autoholding.net/ Amerikanskie avto 1950-kh godov. Detroytskoe barokko.htm
Khmel'nitskiy D.S. Arkhitektura Stalina: Psikhologiya i stil'. M.: Progress-Traditsiya, 2007. S. 43.
http://pandadao.livejournal.com/82526.html Zolotoy vek amerikanskikh tachek.
Rappoport A.G. «Stalinskiy ampir» – gipnotizm i narkotizm stilya // Arkhitektura stalinskoy epokhi. Opyt istoricheskogo osmysleniya. M., 2010. S. 64-74.
Runge V. F. Istoriya dizayna nauki i tekhniki: uch. posobie. V 2-kh kn. M.: Arkhitektura-S, 2006. Kn. 1. 368 s. Kn. 2. 432 s.
Starinnye avtomobili: 1885–1940; Per. so slovats. / Tekst Yu. Porazika; Il. Ya. Oravetsa. Mn.: „LIL'T“, 1996.-224 s.: il, (Malaya entsiklopediya).
Medvedev V.Yu. Stil' i moda v dizayne: uch. posobie. 2-e izd., ispr. i dop. SPb.: SPGUTD, 2005. 256 s.
Mikhaylov S.V., Mikhaylova A.S. Istoriya dizayna. Kratkiy kurs: uchebnik dlya vuzov. M.: Soyuz dizaynerov Rossii, 2004. 289 s.
Lavrent'ev A.N. Istoriya dizayna: uch. posobie. M.: Gardariki, 2007. 303 s.
Koveshnikova N.A. Dizayn: Istoriya i teoriya:

Abstract: The origins of the development of various areas of avant-garde art of the first decades of the twentieth century, largely due to the global activities of Vasiliy Kandinsky, David Burliuk, Vladimira .Izdebsky, T.Fraerman, A.mshey Nyurenberg, Michael .Boychuk. Important role in the artistic life of the region played Odessa Art School, many graduates who continued their education in the major artistic and educational centers in Russia and Europe. In search of creative artists of the early twentieth century, shows the influence of French Impressionism, Post-Impressionism, Fauvism, Cubism, German Expressionism, Italian and Russian Futurism. The variety of artistic styles in the Odessa painting beginning of the twentieth century due to the fact that many graduates of a drawing school continue their education in the Paris, Munich, Krakow, Vienna.The close relationship Odessa artists with Western art centers formed a special artistic atmosphere in which, along with realistic actively developed the latest artistic trends.

Keywords: Odessa, Kandinsky, Izdebsky, Pilskiy, Burliuk, post impressionism, abstract art, international exhibitions, avant-garde, society of the independent

References:
Abramov V.A. V.V.Kandinskiy v khudozhestvennoy zhizni Odessy: Dokumenty. Materialy. O.:OKhM, 1995
Abramov V.A .V.Kandinskiy i «Vesennyaya vystavka kartin» 1914 goda v Odesse //Chernyy kvadrat nad chernym morem. O.: OGNB im. M. Gor'kogo, 2007.S.38
Avtonomova N.B. Kandinskiy i khudozhestvennaya zhizn' Rossii nachala 1910-kh godov. //Poeziya i zhivopis': Sb. trudov pamyati N.I. Khardzhieva / Pod red. M.B. Meylakha i D.V. Sarab'yanova. — M.: Yazyki russkoy kul'tury, 2000.
Barkovskaya O.M. Obshchestvo nezavisimykh khudozhnikov v Odesse. Bibliograficheskiy spravochnik. O.: OGNB im. M. Gor'kogo, 2012.
Burdanov G. Internatsional'naya vystavka kartin «Salon»//Kievskaya mysl'.1910. 23 fevralya.
Vesennyaya vystavka kartin // Yuzh.mysl'.O.,1914.-5 aprelya.
Gershenfel'd M. Pis'mo iz Odessy: Vesennyaya vystavka kartin// Appolon. SPb, 1914.¹5
Gershenfel'd M.K. Pis'mo iz Odessy // Appolon. SPb., 1914 ¹1-2, yanvar'-fevral'. S.151// tsit. Po:. Abramov V.A .V.Kandinskiy i «Vesennyaya vystavka kartin» 1914 goda v Odesse //Chernyy kvadrat nad chernym morem.

Abstract: The article reveals the specifics of the revolutionary populist image in Russian painting of the late XIX - early XX centuries, its transformation from the intellectual to the proletarian types under the influence of russian political and historical events. The author analyzes the development of the Russian revolutionary utopia, tracing the transition from the evangelical idea of sacrifice to its meaningful denial, and then to the denial of God. The author's attention focused on the works of artists, members of Russian realist school: Repin I., his disciple Verhoturov N. and Kasatkin N.

Keywords: populist-revolutionary, People's Will (Narodnaya Volya), socialist-revolutionary, proletariat, revolution, commoner, militant proletariat, fine art, Utopia, Itinerants

References:
Stasov V. V. Izbrannye sochineniya v trekh tomakh, T. 1, M.: Iskusstvo, 1952.
Sitnik K. A. N.A.Kasatkin. Zhizn' i tvorchestvo 1859-1930. M.: Iskusstvo, 1955.
Mikhaylova M. V., Shulyatikov V. I. Sud'by rossiyskikh sotsialistov-revolyutsionerov v osmyslenii literatury nachala KhKh veka (L. Andreev «Rasskaz o semi poveshennykh») // Vesture: avoti un cilveki (Istoriya: istochniki i lyudi). Daugavpils: Daugavpilsskiy universitet, 2011.
Prytkov V. A. Nikolay Aleksandrovich Yaroshenko. M.: Iskusstvo, 1960.
Prudominskiy V. I. Nikolay Yaroshenko. M.: Iskusstvo, 1979.
Russkoe iskusstvo novogo vremeni. Issledovaniya i materialy. Sbornik statey. M.: Pamyatniki istoricheskoy mysli, 2009
Zil'bershteyn I. S. Arest propagandista: Kartina I. E. Repina. M.: Iskusstvo, 1951.
Zhuravleva E. V. Vladimir Egorovich Makovskiy, 1846-1920. M.: Iskusstvo, 1972.
Druzhenkova G. A. Vladimir Makovskiy. M. : Izd-vo Akad. khudozhestv SSSR, 1962.
El'shevskaya G. V. Il'ya Repin. M.: Slovo/ Slovo, 1998.
Gor'kiy M. Zhizn' Klima Samgina (Sorok let): Poves