Abstract: The article reveals the scope of the concept of object design in the screen arts and the specific applicability of the term "design object " in the theory of screen arts through the comparison, interconnection and mutual influence of the concepts "artifact", "simulacrum", "design object", "transmedia", "special effect" and "virtual reality". The influence of object design on the structural-semiotic, dramatic and entertaining aspect of the screen artwork is emphasized. A brief review of the application of object design in screen products is given.The technological aspects of production of design objects, and psycho-physiological aspects of their perception including sound accompaniment are considered. Also, the transmedia essense of object design is the cross-cutting theme of the article.In addition to the systemic and comparative-historical method, the methods of formal and contextual analysis, the structural method, abstract logical reasoning were used in the study. The novelty of the research is caused by the fact that the author identifies the significance of design objects as discrete units of visual content of any screen artwork and to substantiate the hypothesis of a multifaceted independent role of design objects in the text of a screen work: semiotic, spectacular, ideological and dramatic. In conclusion, the author proposes to consider object design as a separate trend in the theory of screen arts, exploring the artistic-spatial and ideological-aesthetic content of the real, pseudo-real, and virtual environment of screen products.

Keywords: special effect, Simulacrum, screen artwork, virtual reality, artistic and spatial environment, cinema and animation, screen arts, visual screen content, object design, design object

Abstract: The subject of this research is the role of Herman Hesse's philosophy and literature in the dialogue between Oriental and Western cultures. The interaction of these two cultures in the XIX century received a new impulse as a mutual interest of the intellectual elites. The author of the article studies Oriental philosophy and arts by Schopenhauer, Schlegel brothers, Goethe, Novalis, J.G. Herder, G.W.F. Hegel, as well as many other outstanding representatives of Western culture coincided with the approaching of its ideological crisis. The present research has three objectives: to define the status of Eastern philosophy in Hermann Hesse's worldview, to describe types of Eastern culture elements in his creative work and to determine the role of Hermann Hesse's writings in the dialogue between Oriental and Western cultures. The research methodology involves analysis of Hermann Hesse's texts, determination of his key ideas and philosophical motifs typical for Eastern culture and the role of Eastern culture in the writer's worldview development. The novelty of the research is caused by the fact that the author defines the level of penetration of Oriental culture and traditions into  the creative ideas of the German writer and establishes the degree of influence of these ideas on his outlook. In particular, the influence of the Orient is represented by plot, factual, ideological, thematic and philosophical elements in his writings. Noteworthy that the writer's worldview kept the main value orientations typical for Western culture. Hermann Hesse's writings are especially interesting to be studied at our age of globalization because they prove the unity of spirits important for all humanity.   

Keywords: religious ideas, West, Orient, creation, worldview, philosophical ideas, dialogue of cultures, Hermann Hesse, art, literature

Abstract: The subject of the study is the justification of the following hypothesis: contemporary art tends to go into reality, beyond the artistic consciousness; people see the beautiful in the things of real life, acts, events, situations, etc. The object of the research is the principle that the infinite being is available to the modern man only within the aesthetic attitude. The authors consider in detail such topics as a specially organized aesthetic experience that allows to "take roots in being"; the ontological status of the "aesthetic attitude" which has priority over traditional types of ideology, equipment and technology, scientific knowledge and critical philosophy; the role of the critical metaphysics of beauty which allows to formulate the significance of contemporary art and the experience it brings to the modern man. Particular attention is paid to the possibility of weakening the antinomy between classical and contemporary art.  The research method is the application of the experience of constructing critical ontologies in modern philosophy (at the theoretical meta-level) to aesthetics and the philosophy of art (at the level of specific realization of ontological concepts). The novelty of this approach is caused by the fact that the authors try to go beyond this antinomy relying on three key provisions: ontological universality of the aesthetic, existential and aesthetic complementarity principle and the ideality of the real thing enclosing an aura of beauty. According to the proposed methodological principles, it is possible to develop a new critical ontology tha would be based on the concept of aesthetic attitude (the central mode of human existence).

Keywords: sense, technics of artistic perception, complementarity principle in the matter of aesthetics, aesthetic attitude, critical ontology, beautiful, contemporary art, classical art, event, poetics

Abstract: By the mid 30s of the XX century the Soviet art developed a canonical image of Stalin. A significant part of paintings with Stalin’s depiction illustrated the Soviet leader with nature or urban background. Their appearance was not accidental or arbitrary. Geographic images were not so much aesthetic as an ideological burden, and therefore were subject to control and guidance. To study this problematic, the now-forgotten works of both well-known and completely unknown authors are involved. The article examines the methods and forms of interpretation of geographical space on the canvases of Soviet artists, their transformation in time, their dependence on ideology and propaganda tasks, as well as their ability to reflect mass stereotypes about the "space in which the leader lives."

Keywords: ideology, presentation, historical genre, portrait, geographical images, space, Soviet art, painting, Stalin, propaganda

Abstract: The subject of the research is the traditional ritualism of Semeyskie republics of Buryatia and culture of protection against evil as a part of it and part of their picture of the world. The object of the research is the material and spiritual culture of Old Believers preserved in the territory of Buryatia. The authors of the article examine protective amulets and traditions that make forms of identity, self-identity and cultural identity. In particular, they analyze guardian signs in costumes (embroidering, jewelries), architecture (the way the gates, windows and houses were built) and personal possessions. The authors have conducted field surveys aimed at collecting the material and suveying respondents in villages of the Tarbagataisky Region. In work the key systems and guarding signs-symbols of the Semeyskiye, important for understanding of sources of their ritual and ceremonial culture, prospects of her development and revival, are revealed. It has also been discovered that indigenous inhabitants still preserve these systems. The syste of guardian signs and symbols that have been discovered during the research can be used to create souvenirs devoted to Old Believers' culture.

Keywords: traditions of Old Believers, costume′s complex, paintings, culture, ceremonialism of Old Believers, identification forms, Old Believers, architecture of Old Believers, ornamentation, farmstead of Old Believers

Abstract: The subject of the research is the problem of the origin of the toponym "Cimmeria" and changes in its meaning within the cultural tradition of the Russian Empire after the accession of the Crimea. The analysis of the process of toponym transformation in literary sources, memoirs of contemporaries who visited Taurida in the first half of the 19th century was implemented. The author compares the mythological image of Cimmeria formed in European culture with the text of "Odyssey" with the semiotic value of the toponym in the historical and cultural period under study. At the same time information on the organization of the artistic image of the Crimea in the visual arts was received within the proses of the development of the Russian landscape school. In her research Kutusheva has used the method of semotic analysis to analyze the aforesaid sources and cultural-historical method to interpret literary works. The main conclusions of the research are the statements about the difference between the mythological image of Cimmeria developed in the discourse of "Odyssey" and topographically accurate location of Cimmeria in works of ahncient historians and modern researchers as well as changes in the semiotic meaning of the toponymn in terms of Russian and European culture of the 19th century from the sacral meaning of the ancient Greek tradition to geographical description of the Crimea. The author's special contribution to the topic is that she describes semiosis of the toponym "Cimmeria' as part of the Russian artistic culture of the first half of the 19th century. The novelty of the research is caused by the fact that the author uses historical sources and travel essays for a more detailed study of the historical and cultural context of creating an artistic image of the Western Crimea.

Keywords: Konstantin Bogaevsky, Carlo Bossoli, Nicolay Tchernetsov, Dubois de Montpéreux, Ivan Muravyov-Apostol, Odyssey, Cimmeria, Maximilian Voloshin, Henri Bonnard, semiosis

Abstract: Based on the matter of the Bengal Renaissance as a cultural phenomenon of the XIXth –early XXth century, the author of the article describes the phenomenon of the so-called problematic thinker, an intellectual who acts as a subject of the Indian–Western cultural dialogue and a creator of the modern philosophy and culture. The problematic thinkers from Rammohun Roy to Rabindranath Tagore constitute the core of the creative minority creating new synthetic forms in philosophy, spiritual and social life, politics and culture owing to their ability to understand the meanings and images of the Other. The research methodology bases on Martin Buber’s existential philosophy where “a problematic thinker” is phenomenologically described as a person who have survived existential loneliness and realized his or her freedom in reference with the Other. For the first time in Russian academic literature the author describes the process of Bengal intellectual’s estrangement from traditional society and conversion of his existential loneliness into personal freedom in the process of spontaneous activity and creation. A special type of personality is formed in the process of individualization. This is the person who is able to create circumstances for understanding and having a dialogue with the Other's culture as well as create a new religious and humanistic ethics.

Keywords: personal freedom, individualization, ethics, dialogue, understanding the Other, existential loneliness, creative minority, problematic thinker, human problem, Bengal Renaissance

Abstract: The article is devoted to the philosophical, publicist and artistic environments of the Western European Renaissance of the late 19th - early 20th centuries. The author of the article tries to define the main directions for interpreting Renaissance in the history of Russian philosophy and culture. The author also views the main research traditions and methodological approaches that were developed in that direction during the aforesaid period as well as the problems of translating Renaissance images and their reflection in fiction and poetry of the early 20th century. Grishatova refers to works written by famous cultural, literary and art experts of the late 19th - early 20th centuries as the main sources that reveal the connection between interpretation of Renaissance in Russian philosophy and Russian cultural history. As a result of analysing interpretation of Renaissance by different representatives of Russian philosophy, history and art, the author of the present article describes a few original methodological approaches that later develolped into independent branches of Russian humanities. It is a fair assumption to say that Renaissance studies were one of the main trends and traditions in Russian history and philosophy during the aforesaid period. For many researchers Renaissance was the main topic back in those times. Noteworthy that in a number of researches and works the contradiction theme was the main one as it often appeared in Russian tradition of interpreting and perceiving the epoch from the point of view of cultural and art analysis as well as analysing peculiarities of the worldview and philosophical attitudes of Renaissance reality. The phenomenon of Renaissance is viewed from different sides and thematic approaches. Moreover, much attention is paid to Renaissance personality and attempt to go inside one's mind and 'reveal the soul' of a Renaissance man. This is the novelty of the Russian tradition of studying and interpreting Renaissance. The aforesaid issues are quite important because their analysis allows to better understand peculiarities of Russian philosophical thought, Russian cultural mind and their connection to specific features of Russian history of culture.

Keywords: Renaissance contradictions, Silver Age, psychological logic, Russian Renaissance, Dantean code, Renaissance personality, classical antiquity, symbolists, Byzantine School, art of Renaissance

Abstract: The subject of the research is the revival of cultural monuments of the Southern Urals architecture of the 18th - 19th centuries. The purpose of the research is to define and analyze historical regional and project documents of restoration of the Kazan Icon of the Mother of God Church (located in the settlement of Upper Avzyan, Beloretsky Region, Republic of Bashkortostan), to reveal peculiarities of the architectural style, to analyze the location and compositional architectural solution in terms of church building traditions of the Southern Urals, to define chronological borders of the history of the cultural monument and emphasize the importance of Dmitry Benardaki's charity in restoration of the temple. The research methods: this interdisciplinary research is devoted to the issues of cultural, historical and architectural nature based on using the methods of comparative historical, typological analysis and on-site inspection of architectural monuments. The result of the research is the description of the problems that arose in the process of restoration the temple such as the absence of project design documents, usage of the hypothesis resotration method, and particularities of carrying out restoration works using modern building materials. The novelty of the research is caused by the fact that the authors introduce documents and illustrations of the Kazan Icon of the Mother of God Church that have never been mentioned before and describe the reasons why the church was restored according to the classical architectural style of the late 18th  - early 19th centuries.

Keywords: canon, regional cultural traditions, the temples of the Southern Urals, emple architecture, an Orthodox church, revival of cultural monuments, classicism, Roman Doric, restoration, charity

Abstract: The author, guided by the methods of cultural studies and art history, tries to answer the question about the origin of the phenomenon of radical modernization of classical literature in theater and film. The novelty of this research lies in the fact that the current options for modernizing classics are interpreted not as a departure from traditional aesthetics, but as a return to the lost traditions of performing arts. The article shows the logic of the renewal of the old tradition and the birth of the new meanings. Since the Middle Ages and until the XVIII century, the theatre always modernized the appearance of the characters and pictures from the past. The abstract time and space of "the everlasting" were created in performances, perfect for different gaming situations. In the middle of XIX century material images of the historical past came in the theatre performance. But the trends of historicism are not compatible with the symbolic images of the abstract time and space. So the detailes of modernity came to the stage in classic performances to create the abstract time and space. In the period of the First World war the signs of modernity in Shakespearean performances were inspired with the irony toward the old-fashioned academic aesthetics and the wish to fix the abyss between the social past and the present. So the conceptual modernization of the classics took place. Later the cinema borrowed this aesthetic principle from theatre.

Keywords: historicism, classicism, costume, modernity, adaptation, abstract time, performance, art tradition, classic, archaeological naturalism

Abstract: The author is interested in the connection between science and art. To discuss this issue, he used his own work having adopted only one narrative line from it, the story and the vicissitudes of cosmoguals. According to one of the heroes of the novel, Black tells the story of the invasion of the earth by extraterrestrial beings - cosmoguals, who enslaved people and feed on their psycho-radiation, but at the same time, contribute to their development and creativity. In the first part of the article "How did the author learn about cosmoguals?" Rozin tells us how the main character of the novel, Mark Vadimov, got acquainted with Cherniy and his theory. Later Viktor Zun appears from the parallel reality, Vadim's friend who tragically died. In the second part of the article "Cosmoguals guide the evolution of the mankind" the reader was able to look at the development of the Earth and humanity as a thoughtful although soulless and very strange project. This is the last part of the article. It is clear that the way the author constructed his discourse was not quite ordinary. It included rational (philosophical and scientific) considerations and artistic, both scientific facts and fantasies. All these heterogeneous elements are connected on the basis of methodological considerations and creativity. As a result, Rosin succeeded in posing several problems: the synthesis of scientific and artistic thinking, the reality and the existence of fictional phenomena (after all, all phenomena, even very real, were at first imagined or invented by someone), and explanations of the evolution of mankind. In addition, he really built a scientific and artistic discourse that allows to discuss the listed problems.

Keywords: discourse, art, science, novel, psychic energy, reality, evolution, Cosmoguals, transition, music

Abstract: The subject of the research is the specific artistic practices of Moscow conceptualism, in particular, such typical genres as painting, graphics (album and catalogue cards), actions and installations. The researcher focuses on such issues of the problems of the artistic language, the loss of autonomy and demateralization of art objects, and procedurality in conceptual works. The author relates the change in the formation to the search for new forms of communication and expression. In a conceptual work the perception is focused on the context where the work is created and exhibited integrating discussion and communication into the structure of the work. The methodological approach involves historical analysis of the artistic practices of Moscow conceptualism. Typical genres and individual works are analyzed from the point of view of changes in the perception process as well as the relation to socio-political and ideological environment. The main conclusion of the article is the idea about merging artistic and life practices in Moscow conceptualism. Working with the principle of indirect expression, artists create new situations for communication. Defining ideological standards for expressoin and behavior, conceptualists search for new ways to overcome them and to give a new form of expression to one's mind. Creativity is thus integrated into the real life of artists and their friends (audience) as the mean of everyday communication.

Keywords: context, art as an experience, ideology, album, installation, action, perception, communication, artistic language, Moscow conceptualism

Abstract: The article investigates the features of Leskov’s texts based on the example of the novel by Nikolai Leskov «The Tale of Cross-Eyes Lefty» that belongs to a series of his novels about the righteous. The research is focused on the poetic and musical sides of Leskov's prose. The author raises a question about the balance between poetry and prose in the text of the Tale. Even Leskov's contemporaries already noticed a unique melody of the writer's writing style. Poets, writers and literary researchers of the 20th century have often underlined a musical rhythm of Leskov's prose. Still, there are no researches that would examine the aforesaid factors and phenomena. In her research Siverskaya combines the problem-logical and comparative methodological approaches as well as observation and analogies methods. The researcher describes literary devices used by Leskov that are comparable to music development methods: variability, polyphony, different speeches and intonations of characters and etc. The researcher also focuses on musical episodes of The Tale as they are. In conclusion, the researcher provides a brief review of musical performances of The Tale including symphonic music, musical comedies, musicals and opera. 

Keywords: music of the language, variability, tale, flea, wood print, polyphony, chastushka , poetry, lefty, Leskov