Abstract: The object of this research is the philosophical reasoning of intelligentsia on the spiritual paths of Russia in the context of historical transformations of the turn of the XIX-XX centuries. The subject of this research is the cultural phenomenon of “festivities”. In description of the philosophical meaning of the concept of “religion”, the author, leaning on differentiation of the religious denominations proposed by D. V. Pivovarov, gradually classifies the ideological and religious pursuits of intelligentsia in accordance with the cosmocentric, sociocentric, and egocentric forms of religions. Introducing the concept of “festivity”, the attention is focused on the life-purpose ideals suggested by intelligentsia as a culture-forming grounds for the development of Russia. Methodologically determinative for this research are the works of D. V. Pivovarov, S. S. Horuzhy, as well as the works of religious philosophers of the silver age. The scientific novelty lies in the presented experience of culturological analysis of historical situation of the silver age, and the religious search of intelligentsia through the methodological prism of the concept of synergy and theory of “festivity”. The category of “festivity” allows accenting attention of the forms of the Absolute and approaches towards it, proposed by intelligentsia as a goal of cultural development. 

Keywords: values, religious philosophy, synergy, religion, intelligentsia, silver age, convivality, higher meanings, spirituality, culture

Abstract: This article is dedicated to examination of the impact of reformation doctrine on the paintings of Lucas Cranach the Elder. The detailed analysis of his works allows to significantly expand our perception of the reflected in his paintings era and its effect on his personal outlook on life. The foundation of the article contains such works of Lucas Cranach the Elder as the portraits of Martin Luther of various periods; “The Fall, Expulsion from the Paradise and the Atoning Sacrifice of Christ (Allegory of the Old and New Testament)” created in 1529, which became a pictorial catechism of the Luther’s doctrine. Methodological base includes the works of the foreign and national medievalists aimed at consideration of the cultural and everyday aspects of social life and determination of their mutual influence with the political history of the region, combining the macro and micro approaches towards historical studies. The conducted research, based on the synthesis of comparative-historical and systemic methods, allows examining and characterizing separate aspects of interpretation of the reformist doctrine, which left a noticeable mark in the works of Lucas Cranach the Elder – one of the closest friends and successors of Martin Luther, the “father” of German Reformation. The author was able to draw conclusions on the impact of reformation ideas on the worldview of a separate individual.

Keywords: woodcut, German Renaissance, Lucas Cranach the Elder, Martin Luther, Protestantism,, Reformation in Germany, early Modern times, Protestant portrait, iconography, Gospel

Abstract: The subject of this research is the determination of the degree of scientific exploration of the concept of “montage” within the system of artistic culture, consideration of the processes of its establishment and subsequent transformation. The object of this research is the analysis of fundamental works comprise the basis of the montage theory in the system of artistic culture and fully reveal the figural-dramaturgical and compositional-structural peculiarities of this phenomenon (works of S. Eisenstein, L. Kuleshov, V. Pudovkin, Y. Tynyanov, Y. Lotman. V. Ivanov, T. Efremova, R. Salganik, N. Volkov and others). For achieving the set foal, the author selected the methodology of exploration of the term “montage” in various fields: literary studies, book publishing, culturology, aesthetics, and cinematography. A conclusion is made that the concept of “montage” was viewed by the scholars from various perspectives: as the means for expressing authorial positions; realization of figurative theme; composition of artwork; one of the types of artistic thinking that becomes common for the national art of the late XX century. This article is first to consider the concept of “montage” in the context of various humanitarian spheres. The scientific novelty lies in determination of the relevance of montage principles outside cinematography, despite the origin of the montage theory in the area of cinematic art. Modern artists of different types and genres continue to widely interpret the capabilities of montage in their works.

Keywords: concept, author's position, space, meaning, text, montage, work, art culture, structural capabilities of installation, space-time

Abstract: The object of this research is the unpublished and mostly unknown texts of M. F. Gnesin on the Jewish music culture: the report “Richard Wagner and Judaism” (1913), article “Anti-Semitism and Music” (1915), as well as manuscripts dedicated to the history and theoretical bases of Jewish music (“Jewish Music” and others, 1920’s). The subject of this research is the problems of cultural identity, national self-consciousness, “musical” nationalism that reflect a complicated process of establishments of the professional Jewish music culture in Russia of the early XX century. The key research methods contain the analysis of the handwritten and printed texts of M. F. Gnesin, as well as comparison of their fundamental premises and conclusions with the perspective of the national and foreign contemporaries. The following conclusions were made: Gnesin is one of the first national scholars, who comprehensively studied the history and stylistic peculiarities of Jewish music; Gnesin’s texts touch upon most important and relevant for his time questions – not only musicological, culturological, but also philosophical, social, psychological (particularly the phenomenon of the so-called “Jewish self-hatred”), as well as reflect the evolution of views upon the Jewish music culture within the environment of the representatives of Jewish intelligentsia of the early XX century. The scientific novelty consists in introducing into the scientific discourse the unstudied and unpublished texts of M. F. Gnesin, which have not previously been the subject of a particular research.

Keywords: nationalism, antisemitism, Jewish art, Jewish culture, Jewish music, Weininger, Wagner, Gnesin, Jewish self-identity, Jewish self-loathing

Abstract: The article examines the problem of ethnocultural tourism in the Sakha Republic (Yakutia), which goal lies in the analysis of theoretical aspects and practical provisions that reveal the specificity of the regional ethnocultural tourism, adjustment of the acquired results for preservation of the natural and cultural heritage of cities of the republic, as well as the use in tourism for its future improvement and development. This work presents the only aspect of research – the model of ethnocultural tourism in the Sakha Republic (Yakutia). Methodological foundation contains the principles of systemic-structural, cultural-geographic, historical, civilizational, and culturological approaches. The scientific novelty lies in determining and characterizing the resource potential of the types of ethnocultural tourism of the Sakha Republic (Yakutia) as the culturally and socially effective forms of using the preserving the natural-cultural heritage in the modern conditions. The specific attributes of ethnocultural tourism are described.

Keywords: Olonkho, resource, cultural heritage, model of ethno-cultural tourism, ethno-cultural tourism, Ysyakh, functions, forms, cultural wealth, natural objects

Abstract: The subject of this research is the Korean “genuine” landscapes (chingyong sansuhwa) by the painter Kyomjae Jeong Seon (1676-1759). The object of this research is the proposed by the South Korean art historians theories of what became a source of formation of this trend of landscape painting. The author reviews the works dedicated to the establishment of chingyong sansuhwa, and analyzes the processes that could affect the desire of the painter Kyomjae Jeong Seon to depict the Korean nature. This article is first in the national and foreign science to examine the existing in the South Korean art history discussion on the causes of emergence of chingyong sansuhwa by Jeong Seon. For classification of the suggested by the art historians versions, the author applied the comparative method and the method of critical analysis. The conclusion was made that the South Korean experts express versatile opinions what has become the cause of establishment of landscape chingyong sansuhwa; while the representatives of the “theory of internal causes” anchored by Choe Eun-sun insist that chingyong sansuhwa is the phenomenon of local origin, formed as a result of development of the Korean Neo-Confucianism that contributes to formation of the “national” mentality among the elites and gain of confidence in the distinctness of their native culture. The supporters of the “theory of external causes” are willing to believe that the “genuine” landscapes have emerged in the process of reconsideration of the new philosophical and landscaping practices of the Chinese Dynasties Ming and Qing. South Korean researchers differently assess the level of correlation between the Chinese and Korean landscape; however, the representatives of the “theory of internal causes” see the belittling of the Chinese influence.   

Keywords: sirhak, Choson, Korean paintings, Korean art, Korean landscape paintings, Kyomjae Jeong Seon, Chingyong sansuhwa, Neo-Confucianism, Republic of Korea, Chinese paintings

Abstract: The subject of this research is the consideration of peculiarities of acculturation of Muslims as a process unfolded in the European non-Muslim societies, associated with impossibility of achieving a full mutual social recognition even upon the condition of gaining citizenship of a certain country, in other words, naturalization. The constraining factor towards that is the methodological nationalism, separation and marginalization, which are an inevitable result of the pursuance of multiculturalism and proclivity for leaving the ghetto, as well as understanding of acculturation as a unilateral process. The scientific novelty lies in reconsideration of the traditional forms and strategies of acculturation in the context of situation of social recognition of the Muslims in the accepting societies of European states. The main methods are the examination and analysis of academic publications related to this problematic, as well as their systemic comparison for revealing the peculiarities inherent to the aforementioned process. A conclusion is made on the importance of civic equality for the mutual social recognition, as well as the need for bilateral changes of identity for solution of the problems emerging in the process of acculturation.

Keywords: ghetto, assimilation, integration, Muslims, social recognition, naturalization, citizenship, acculturation, multiculturalism, methodological nationalism

Abstract: The goal of this article is to determine the level of impact of the emigrant magazine “Illustrated Russia” (1924-1939) for the history of development of the world fashion industry of 1920’s – 1930’s. The author analyzes a wide range of publication from the “Illustrated Russia” dedicated to the fashion theme (articles on the male and female fashion with images; advices on selecting wardrobe, hairstyle and makeup; advertisements of clothes and accessories manufactures) through identification of correlation between the fashionable trends and social processes of that period. Particular emphasis is made on the activity of the Russian emigrants in fashion industry of the 1920’s – 1930’s and their role in development of the aesthetics of fashion in the XX century. The author comes to a conclusion that the materials of the emigrant magazine “Illustrated Russia” help restoring the retrospective picture of evolution of the global fashion industry in the 1920’s – 1930’s and contribute to studying the anthropology of fashion of the Russian diaspora of the early XX century.

Keywords: Russian Diaspora, russian style, Russian fashion Houses, print media of the Russian Diaspora, global fashion industry, Coco Chanel, history of fashion, Illustrated Russia, emigre press, fashion anthropology

Abstract: This article makes an attempt to substantiate the possibility for development of the categories of “information culture” and “psychological virtual reality” within the framework of information concept of virtual reality. Special attention is given to the critical analysis of the concept of “psychological virtual reality”, which is widely used in modern philosophical and psychological literature. This aspect of research allows proceeding with the analysis of the problem of transformation of consciousness as a generic quality of a human in terms of the development of information culture. The conducted analysis demonstrates that the advancement of categories of “information culture” and “psychological virtual reality” within the framework of information concept of virtual reality is possible, because the phenomena determined by these categories have informational essence. Studying of consciousness as a form of existence of information culture in terms of the concept of virtual reality will help reaching the problems of transformation as one of the key generic qualities of a human in the conditions of evolution of the modern sociocultural space of the virtual-information reality.

Keywords: virtual information reality, situation, information, information concept, consciousness, psychological virtual reality, information culture, virtual reality, personal information culture, information virtual psyche