Abstract: The subject of the study is a modern tracksuit for military personnel. The object of the study is the ergonomic characteristics of a modern sports suit for military personnel. The author examines in detail such aspects of the topic as the characteristics and properties of modern tracksuits for military personnel. The ergonomic characteristics of modern military suits are analyzed, namely: comfort, freedom of movement, adaptability to various conditions. The author analyzed the main variants of modern domestic costumes. It was found that, in general, they meet the basic requirements for tracksuits for military personnel. They have an average with a high degree of comfort, adaptability to changing conditions, and an average and high degree of freedom of movement. Each of the shape options has both its disadvantages and its advantages. We have identified the main areas of improvement of tracksuits for military personnel. The main research methods are – the method of analysis, generalization, systematization, classification of literary sources on the research topic. The main conclusions of the study are the provisions that a modern suit for military personnel should have a number of ergonomic characteristics in order to ensure comfort, safety and effectiveness during physical exercises. The ideal materials for a sports suit for military personnel are textile fabrics with good breathable properties, such as polyester, elastane, nylon or special fabrics with moisture removal technology. The suit should have a loose fit, which will ensure a comfortable fit and freedom of movement. It is recommended to minimize the number of seams and use flat seams or seamless manufacturing technologies. The materials of the suit must provide good ventilation and moisture removal to prevent overheating and discomfort during physical exertion. The author's main contribution to the research of the topic is a comprehensive analysis of the ergonomic properties and characteristics of military sports suits. The basic requirements for them, ergonomic characteristics, adaptability of suits to various climatic and temperature conditions are studied. The relationship between climatic conditions and recommended military suit numbers is shown. The main characteristics of modern sports suits for military personnel are studied, their advantages and disadvantages are highlighted, and ergonomic characteristics are determined. Recommendations have been developed to improve each version of the costume.

Keywords: suit number, military tracksuit, military uniform, convenience, freedom of movement, comfort, adaptability, ergonomic properties, climatic conditions, fabrics

Abstract: The article is devoted to the analysis of the system of ornamental elements on animal style products from the Ulandryk I. The purpose of the study is to identify and classify ornamental elements in zoomorphic and ornithomorphic images. The subject of the study, therefore, are objects with zoomorphic images from mounds 1-4, 6 and 12 of the Ulandryk I. The group of monuments in the context of one burial was chosen mainly for two reasons. Firstly, objects with zoomorphic images were found only in these burial mounds. Secondly, the study of the data on the dating of the monument by the method of wood-ring analysis showed that these mounds were built within 10 years – in 308-298 BC. A short time interval for the creation of mounds allows us to consider the ornamental system presented in their images as a single whole, without separation into individual mounds. The article suggests using the method of formal analysis to clarify the description of ornaments available in the works of V.D. Kubarev – to divide them into elements and motifs, as well as to make a classification. This classification makes it possible to identify ornamental elements characteristic of zoomorphic images and clarify the boundaries of the use of various ornamental elements in the art of the Pazyryk culture. The scientific novelty of the study is predetermined by the absence in Russian historiography of works describing the system of ornamental elements in the images of the animal style of the burial ground, as well as the lack of a developed methodology for such a description in relation to the archaeological materials of the Pazyryk culture. The study of the materials of V.D. Kubarev's excavations, presented by him in a 1987 monograph, as well as the latest publications of the materials of the burial ground by G.V. Kubarev, revealed that despite the presence of ornamental elements both in the images of animal style and in objects of weapons, costume, horse equipment, there is no unified system and the described structure of the ornamental system based on the materials of the burial ground. Researchers identify individual motifs and elements on clothing items, but do not correlate them with similar ones in animal-style images. The relevance is due to the interest in studying various aspects of the meanings of zoomorphic images and ornamental elements in the context of the art of the Scythian-Siberian world.

Keywords: signs, motive, element, the ornament, The Scythian-Siberian world, animal style, Altai, Ulandryk, Pazyryk culture, burials

Abstract: The subject of the study is the change in the methods of interaction of the Russian conservative trend with society and government structures within the framework of the anti-Finnish discourse in the early twentieth century. The author examines in detail such aspects of the topic as the return of the "Finnish question" to Russian journalism after the assassination of Alexander II by the People's Deputies and a sharp change in the internal political course of the government; the influence of right-wing monarchical organizations (especially the "Russian Assembly") on the spread of anti-Finnish sentiments in Russian society and senior government circles; the actualization of the "Finnish question" in the context of the actions of the tsarist government by incorporation of the outskirts. Special attention is paid to the transition of anti-Finlandic sentiments from the plane of public controversy on the pages of Russian magazines into the practical activities of Russian officials to limit the autonomous rights of the Grand Duchy of Finland. The main content of the research methodology is the study from the point of view of objectivity and historicism of materials giving an idea that the strengthening of anti-Finlandic sentiments among representatives of the right-wing radical spectrum of the Russian social movement, which was caused by revolutionary shifts in the life of Russia at the beginning of the twentieth century. The main conclusions of the study are: 1) disagreements over the status of the Grand Duchy of Finland became part of the ideological and practical confrontation between different social groups in Russia at the beginning of the twentieth century; 2) the vector of Russian policy regarding the autonomous rights of Finland is changing, and this problem is again becoming part of the information agenda, mainly in conservative publications. The author's special contribution to the research of the topic is to identify the reasons for the change in the nature of the discussion of the status of Finland in the context of serious changes in the Russian Empire at the beginning of the twentieth century. The novelty of the research lies in the analysis of the events of a crucial historical stage, when the activation of the revolutionary and national liberation movement caused a tendency to strengthen pro-monarchist groups seeking to counter the destructive anti-state challenges in the national issue of the idea of preserving the state.

Keywords: incorporation, right-wing monarchists, status of Finland, anti-Finnish sentiments, the national question, Russian conservatives, Russification of Finland, the Finnish question, Russian journalism, Finnish separatism

Abstract: Since the end of the 17th century, personifications of the four parts of the world, or four continents (Europe, Asia, Africa, and America), have appeared in Russian art, along with many elements of the Western European allegorical vocabulary. These allegorical figures in some works of art attracted the attention of researchers, but their iconography has not yet been elaborately analyzed. The present article summarizes information about personifications of the four parts of the world in 18th-century Russian art. Their iconography is examined in Western European context and in comparison with their descriptions in iconological lexicons (e.g., Honoré Lacombe de Prézel’s "Dictionnaire iconologique, ou introduction à la connoissance des peintures, sculptures, médailles, estampes...") and literature. The iconography of the personifications of the four parts of the world, borrowed from European art, varied from case to case, following different patterns, but remained recognizable. Allegorical figures could be accompanied by various symbolic animals. Sometimes parts of the world could be depicted as children, also in accordance with one of the variations of European iconography. The appearance of allegorical figures of the four continents in panegyric art served to the purpose of glorifying the Russian Empire and its ruler. By pointing to the universality of their meaning, these allegorical figures helped to exalt the imperial nature of power. In addition to the examples of personifications of the four parts of the world in 18th-century Russian art which were already analyzed, the article adds works of art that had not previously attracted attention in connection with this topic, including images of not-preserved decorations of court celebrations, as well as alternative embodiments of universal meaning (such as images of the winds).

Keywords: the art of the eighteenth century, Russian art, Europe, America, Africa, Asia, Four continents, Four parts of the world, personification, allegory

Abstract: The object of this research is artistry and creativity as sociocultural phenomena. The subject of this research is the cultural and philosophical foundations of the correlation of the desired phenomena. The developed foundations represent the criterion foundation for differentiating artistry and creativity from the point of view of ontological, epistemological, axiological, sociocultural, anthropological, praxiological, ethical and aesthetic approaches. The phenomenon of «artistry» is justified as the creation of a previously non-existent or original, meaningful and qualitative transformation of existing being, which manifests itself in the establishment of a work of art that is valuable to the subject itself, society and culture due to its actual exclusivity. In turn, creativity is defined as a combinatorial and plagiarized comparison or formal and quantitative redistribution of heterogeneous fragments of being, which manifests itself in the emergence of an artistic work that has a certain price for a mass consumer audience due to its superficial «elitism». The methodological foundation of this research is a systematic approach, comparative-historical and analytical-interpretative methods, as well as hermeneutic and phenomenological approaches. The scientific novelty of the conducted research lies in a holistic, systematic and poly-aspect substantiation of the essence of the phenomena of artistry and creativity and the disclosure of the features of their sources, process, subject and orientation. On the basis of the developed cultural and philosophical foundations, multidimensional definitions of artistry and creativity are formulated, including the designated critical features. The research also outlines the contours of a special philosophical discipline – the philosophy of creativity and its separate subsections. The main conclusion of the research is the position on the inadmissibility of replacing artistry with creativity in order to avoid the dangers of depersonalization of the creative subject, dehumanization of social relations and degradation of cultural traditions.

Keywords: aesthetics, ethics, praxiology, anthropology, culturosophy, axiology, epistemology, ontology, creativity, artistry

Abstract: The subject of the study is Scythian-Sarmatian art in the cultural landscape of Crimea, expressed in sculpture, monumental and decorative arts. The object of the study is the Crimean artifacts of the Scythian-Sarmatian culture (details of jewelry, weapons, sculpture, vase painting) in comparison with similar objects from other regions of settlement of the Scythian-Sarmatian nomadic peoples. The author pays special attention to the identification of the main distinctive features of the Scythian and Sarmatian culture, which is complicated by how much mixed culture develops in the Northern Black Sea region and transformations of the animal style of the Scythian-Sarmatian culture in the Crimean diaspora associated with the influence of ancient culture and Near Asian civilizations. The use of the animal style as part of all subsequent styles, including the Crimean Art Nouveau, which is a reflection of the synthesis of cultures of the multiethnic cultural landscape of Crimea, is also traced. The article uses the method of historicism in retrospect of Scythian-Sarmatian art in the cultural landscape of the Crimea, the comparative method in the comparative analysis of artifacts of the Crimea and the entire territory of Scythia, the method of stylistic analysis in the decorative and applied arts of the Crimea. The main conclusions of the study are: 1. The Crimean cultural landscape is diverse due to the historical polyethnicity of the region, associated with its geographical location and a unique natural complex, which has become a place of numerous ethnic migrations throughout history. This is also connected with the appearance of the Scythian-Sarmatian culture in the Crimea in the ancient era, which left a significant mark on the peninsula. 2. The characteristic features of the Scythian – Sarmatian animal style are simplification of form, linearity and geometrization, which harmoniously fits into the classical anthropomorphic proportions in sculpture, wall painting, vase painting of ancient art. The constructive expediency, conciseness and harmony inherent in the Scythian-Sarmatian animal style through the prism of ancient art became the reason for the global introduction into subsequent architectural and artistic styles, up to the present time. 3. The Scythian-Sarmatian art in the Crimean cultural landscape is unique in that it embodies the original style of the Scythian-Sarmatian people.

Keywords: Scythian animal style, Antique style, Polychromacy, Synthetism, Sarmatian signs, Art, Scythian-Sarmatian culture, Cultural landscape, Crimea, Stylization

Abstract: This article analyzes and explores the historical sociogenesis of replacing the former disciplinary socialization with hedonistic personalization within the cultural space of modern society – its causes, implementation mechanisms and consequences, which also include the emergence of the cult of pleasure. Particular attention is paid to the study of the emotional aspects and mechanisms of influence of the culture of hedonism on the common cultural space, attempts are being made to force its emotionalization and restructuring. In the conclusions of the study, the reasons for the emergence of the phenomena of emotional utilitarianism and the consumerization of emotions, their transformation into an object of exchange relations, into a commodity that can be sold along with anything material, are noted related to these trends. In conclusion, the pathopsychology of excessive emotional manifestations, which causes the emergence of a state of pathological anhedonia, is analyzed, particular manifestations of this phenomenon are considered, and a comprehensive assessment is given to them. Under the influence of Western culture, the axiology of Russian culture was subjected to a radical revision, during which hedonistic personalization began to actively displace disciplinary socialization. The subculture of domestic "orthodox hedonists" has had and continues to have a very noticeable impact on the overall cultural situation. The main goal of the adherents of hedonism is to transform the entire emotional universe of modern society in such a way that emotions associated with pleasure and entertainment form its core, shifting everything else from the center to the periphery. The social causes of modern anhedonia are associated with an overabundance of strong and artificially stimulated emotions, to protect against which internal barrier mechanisms are activated in the human brain.

Keywords: emotionalization of culture, the phenomenon of hyperhedonism, the subculture of hedonism, hedonistic personalization, disciplinary socialization, emotions, society of impressions, emotional capitalism, consumerization of emotions, anhedonia

Abstract: The article is devoted to the history of the Kostroma militia during the Patriotic War of 1812 and aims to clarify and detail the data of historiographical research on the regimental commanders of the Kostroma militia as one of the militias of the III district. Among the sources, documents from the collections of the Russian State Military Historical Archive, the Russian State Historical Archive and the State Archive of the Kostroma Region are considered. The documentary data are compared with the texts of the works of K.A. Voensky, V.R. Apukhtin, N.N. Vinogradov and others. The service records of the militia leaders are considered in the most detail. Archival materials are presented, which reflect the activities of the militia regiments in the Foreign campaign of 1813–1814. The generalization of biographical information made it possible to assess the military and managerial potential of the Kostroma militia. The analysis of biographical information on personalities, especially those related to military service before the campaigns of 1812–1814, aims to provide a reasoned assessment of both their personal merits and the overall results of the actions of the Kostroma militia. According to the results of the study of biographical information of the leaders of the Kostroma militia of 1812–1814, there are grounds for a number of conclusions. Firstly, the general command and militia regiments were headed by people with serious military experience: participants in the campaigns of the 1780s – 1790s, associates of A.V. Suvorov, participants in the military campaigns of 1805–1807. Secondly, among the commanders of military units there were persons with experience of civilian managers. And finally, it is particularly worth noting the full staffing of the militia regiments: from warrant officers to senior officers. This made it possible to put a man with military training at the head of each militia unit. As a result, the militia had high training and discipline, which was manifested in the Foreign campaign of 1813–1814 and when participating in military operations.

Keywords: Bardakov, militia, the Kostroma militia, the militia of the III district, people's militia of 1812-1814, the Foreign campaign of 1813-1814, The Patriotic War of 1812, Vyazemsky, Nebolsin, Tatishchev