Abstract:   This article gradually examines the process of searching the national identity in secular music of the XIX century by the Russian composers, beginning from the late XVIII century, when took place the first attempts of creating the classical music that includes the elements of folk songs, and endinf with the historical operas of the late XIX century. The author reviews the professional musical activity of the following composers: A. A. Alyabiev, A. L. Gurilev, A. E. Varlamov, M. I. Glinka, A. S. Dargomyzhsky, M. A. Balakirev, C. A. Cui, M. P. Mussorgsky, N. A. Rimsky–Korsakov, A. P. Borodin, P. I. Tchaikovsky, A. G. Rubinstein, and others. This process is examined using the method of music comparative studies, as well as the analysis of most influential aesthetic ideological processes, which took place in Russian cities of the XIX century. The conclusion is formulated that the inherent to Russian culture features were most intensively depicted in the opera genre oeuvres, if draw comparison with other secular music genres popular in the XIX century. The author defines the reasons that led the composers to pick opera as the most adequate musical form for expressing the peculiarities of Russian culture.  

Keywords: Mikhail Ivanovich Glinka, The Mighty Handful, Russian folklore, Russian song tradition, urban culture, historical opera, secular music, Russian musical culture, Russian opera, national identity

Abstract: The goal of this article is the analysis of current problems of the ethics of scientific publications. The authors examine the main principles of the ethics of scientific publications, as well as factors of emergence of violations in this sphere. It is stated that examination of the ethics of scientific publications must be realizes exceptionally in the context of science as a whole. Analysis of the ethical principles of a scholar and organization of activity among scholars within the framework of scientific institutions, demonstrates that violation of principles of the ethics of scientific publications result from the noncompliance of the high moral principles with the circumstances, which the scholars often are forced to work in. The article reviews the following major violation of the ethics of scientific publications: fabrication of data, plagiarism, self-plagiarism, pricing policy of journals, and others. The work indicates that despite the contradictions between the reality and ideal principles of ethics of a scholar, the scientific associates must lean on these principles in order to achieve success in their activity. Conclusion is made that the modern forms of reporting of scholars alongside the organization of scientometrics boost the increase in violation of the ethics of scientific publications.

Keywords: self-plagiarism, scientific journals, J. Ziman, data fabrication, plagiarism, R. Merton, publication ethics, scientific ethics, ethics of scientific research, professional ethics

Abstract:   The topic of this article is the movies “Fanny and Alexander” Ingmar Bergman and “The Sacrifice” by Andrei Tarkovsky. The subject of this research is their conceptual and structural interrelation. The author questions whether it is possible to view each movie as a so-called addendum with regards to another. The article thoroughly analyzes the temporal structure of the aforementioned movies, similarity and difference of their inner spaces, distribution of characters, and their meaning. The author also compares the circumstances under which the movies have been created. The article applies the method of phenomenological analysis (emphasizing the fact that a movie is given to the audience as a single temporal reality), as well as method of structural analysis (that views the relationship between characters as a certain landmark structure, which delivers a particular message to a spectator). A conclusion is made that both movies have the obvious similar features (beginning with the circumstances of their creation), as well as clear and less clear discrepancies. At the same time, it does not mean that “The Sacrifice” that came out four years later than “Fanny and Alexander” is a somewhat secondary or derivative with regard to it. It rather manifests as a two-sided latent discourse of the authors, their existential positions, and cultural traditions, into which both of them are inscribed in one or another way.   

Keywords: Sacrifice , Patricide, Father-son relationship, Antithesis, Catastrophe, Home, Family, Ordinary world, Homogeneity/heterogeneity of space, Cinematographic space/time

Abstract: The subject of this research is the manuscript “Topography of Ireland” and “Conquest of Ireland”. The object of the body of text of the artefacts “Topographia Hiberniae", "Expugnatio Hiberniae", "Gemma Ecclesiastica", and "De rebus a se gestis" by Giraldus Cambrensis. The author examines such rhetorical aspects of the medieval clerk, as the character and ways of citing classical authors. Special attention is given to the elements of scholastic written narrative. The article sets a goal to determine the correlation between its written and verbal part in works of the Welsh monk, and its impact upon the interrelation of fragments of the digest of the late XII century in the code of the early XIII century (National Library of Ireland MS 600 Giraldus Cambrensis). Among the main conclusion of the conducted research are the following reasoning: 1) “Topography of Ireland” and “Conquest of Ireland” represent the elements of a single body of texts, part of the manuscript digest of the late XII century; 2) At the end of the XII century, Norman administration in the territory of Ireland engaged the local irregular unions for the joint warfare. Authors main contribution lies in collation of the materials of the Norman and Irish chronicles. The scientific novelty consists in the complex approach towards the manuscript and intellectual heritage of Giraldus Cambrensis as a historical source.

Keywords: Pyatina, amplificatio, Maurcius, Osraige, Polybius, Giraldus Cambrensis, minius, miniature, Leinster, Munster

Abstract:  Modern media space explicitly and implicitly affects all forms of culture of the technologically developed regions of the world. Traditional and classical artifacts of culture are not only being represented, but also experience decoding in the modern media space. The subject of this research is the transformation of opera performance within the framework of modern media space. The author examines the main representational strategies of actualizing the visual component of modern opera productions. The work studies the influence of the phenomenon of clip culture upon the traditional musical artifact, in particular, the classical opera. The modern opera performance of classical composers is analyzed from the perspective of changes in interrelation of the role of audial and visual culture. The following conclusions are made: 1. Decoding of opera takes place in the context of visualization of the production and ways of its subsequent representation and broadcasting pnto the modern cultural reality; 2. The main role of audial content in the opera production is reduced; 3. The opera performance represents clips (fragments) of modern reality that have nothing in common with the classical art project; 4.  Rapid cuts and dynamic shooting of the opera performance contribute to its fragmented perception by the subject of culture. The scientific novelty consists in the thesis that leaning on the example of classical academic culture, namely opera, the author considers certain variants of the impact of clip culture of the modern media space upon the traditional artifacts.

Keywords: visual culture, clip culture, transformations, decoding, modern media space, classical artifact, opera performance, audial culture, classical music, media culture

Abstract: Based on the identified and processed sources, the author conducted a comprehensive research of the phenomenon of phonodocumental communications. The subject of this publication is the phonodocument and phonoarchive as the elements of the system of social communications. The essence, classification, and function of phonodocuments are determines. The musical phonodocuments are highlighted as a specific cluster in the communication space. The author carries out a classification of phonodocuments, gives characteristic to the essence of musical phonodocument, and defines its functions. Special attention is paid to the analysis of organizing the storage of sound recording materials in various archives, as well as access to them at present time. The author concludes that the entirety of phonodocumental resources generates the systems of sound recording materials as forms of higher level, which include the combined phonoarchives of the international record labels (majors). The article suggests the efficient ways for improving the work of phonoarchives. The scientific novelty of the research consists in substantiating the hypothesis of cyclic evolution of the system of phonodocumental communications, as well as finding ways for optimization of storing the phonodocuments.

Keywords: Social communications, Phonogram, Magnetic Tape, Gramophone record, Sound recording material, Sound recording, Audial Information, Musical phonodocument, Phonoarchive, Digitization