Abstract: In this research Morozova focuses on the Russian culture and Russian research of art, the subject of the research is the Russian research of Spanish art. She examines such aspects of the topic as the determinancy of directions, themes, range of problems, methodological approaches of the Russian cultural research and Russian research of Spanish art to Russian cultural paradigms. The researcher has chosen to study Spanish art as a particular case of art history. This has allowed the author to make grounded conclusions because there are a lot of researches on the history of Spanish art available. The conclusions based on the analysis of Spanish art are carried over the Russian art history in general. The author analyzes the socio-cultural factors of the art history and describes particular stages of its development as well as provides a description of each stage. She also analyzes the development of the research of Spanish art in terms of the socio-cultural environment. According to the researcher, it is not enough to study internal or immanent factors of the Russian history art evolution to understand the actual shifts and transformations happening there. Only the analysis of the Russian history art development from the point of view of the Russian cultural paradigms may explain the nature of those changes and transformations. The novelty of the research is caused by the fact that the author's predecessors focused immanent or intrascientific factors of the Russian art history and Russian research of Spanish art development which is not enough to explain the changes in the process of the cultural research development that influenced the choice of styles, artists, master pieces for the research and their evaluation. Morozova analyzes socio-cultural factors of the development of the Russian cultural research based on the example of the Russian research of Spanish art. The main conclusion made by the author is her statement that the development of the Russian cultural research has always been determined by the Russian cultural paradigms. 

Abstract: The subject of this research is the monograph written by Vydas Siliunas and named 'Mysteries of the Spanish Theatre Stage Language' (published in Moscow by the publishing house Navona). In her research Morozova carries out analysis of the preceding literature on the history of the Spanish theatre of the XVIIth century and demonstrates the role that Vydas Siliunas' monograph played in the history of the literature about history. The researcher focuses on Vydas Siliunas' innovative approach. Siliunas studies Spanish festivals as a proto-type theatre and views plays of Spanish playwrights from the point of view life and theatre and general expression that it makes but not from the philological point of view only as it used to be in theatre studies before. Morozova applies the method of analysis to analyze a new monograph in relation to the history of theatre studies. She also gives a comparison of the reconstruction levels of the Golden century Spanish theatre in the researches by Vydas Siliunas' precedents and his compositions. She compares conclusions and approaches made by Vydas Siliunas and a number of foreign Spanish theatre researchers. The main result of the research is Morozova's conclusion that Vydas Siliunas made a great contribution to the research of the history of the Spanish theatre and Spanish culture. By using examples, Morozova illustrates the ambiguous integrated nature of the Golden Century Spanish culture that is built on the combination of the tragic and comic, brutal and noble, folk and aristocratic. The new approach to the Spanish theatre research reveals completely new opportunities for Spanish studies and analysis of the Spanish culture. 

Abstract: The subject of the research is the contribution mad by Alexandre Benois to the development of the hsitory of Spanish art in Russia. The object of the research is the descriptions of Spanish artwork and generally Spanish art given by Alexandre Benois in his 'The Hermitage Picture Gallery Guide' (1911) and 'The History of Painting of All Times and Peoples' (1914). In her research Morozova also uses Alexandre Benois' personal impressions of his trip to Spain. The researcher focuses on how Benois perceived and interpreted 'the old Spanish art', most of all, Spanish painting of the 16th - 17th centuries. THe author of the article compares the level that had been achieved in studying the history of Spanish art by the 19th - 20th centuries and Alexandre Benois' researches which allows to better describe the role of Alexandre Benois in studying the history of Spanish art in Russia prior to 1917. Never before the role of Alexandre Benois as an expert in the history of Spanish art has been discussed in the academic literature. The author of the article demonstrates how important Alexandre Benois' contribution to the history of art was. Benois' researches of Spanish art became the basis for the development of the history of Spanish art in the 20th century in general. Alexanre Benois' researches allowed to overcome the dichotomy between academic interest in painting techniques used by Spanish artists and unvervaluation of their graphic structure as well as between Russian society's interest towards Spanish culture in general and misunderstanding of many Spanish cultural phenomena. 

Abstract: The subject of the research is the first stage in the active acquaintance of the Russian audience with Spanish art during the first half - the middle of the 19th century. According to the author of the article, this is a very important period because it was the time when the main approaches of Russian art studies to Spanish painting developed. The author analyzes responses and perception of Spanish art by Russian writers, artists and first scholars in art history. Writers discussed by the author are Botkin and Brullov and a scholar is Somov. The research method used by the author of the article involves comparison of evaluations of Spanish painting demonstrated by different people, representatives of literary groups, artists and the first representatives of new Russian art studies. The main conclusion of the research is that studies of Spanish images and styles were rather discrete. A major art critic Somov, for example, whose researches combined aesthetical and artistical approaches, expressed his admiration by the imaginary side of Spanish painting and dissatisfaction of its stylistic patterns. Evidently, Russian science was still to come to understanding that there was an inextricable connection between the former and the latter in Spanish painting of that time.