Abstract: The focal point of the paper are numerous manifestations of the principle of “receptive aesthetics” in the culture of Japan which has reworked Chinese aesthetic patterns in the own way. The main concern of the paper is the idea to demonstrate the grounds for comparing cultures, to describe the typological features of Japanese and Chinese cultures. There are three main types of study design used to identify cultural features: the objects of fine arts, language expressions and films. There is much evidence of the possibility to draw the lines of similarity between Japan and China on religious, semantic, aesthetic and gender grounds. The main method is a systematic approach to a culture that allows one to trace the genesis of individual components of the cultural system, which subsequently influence the entire system as a whole. At the heart of the work there are 2 principles of the description of culture: the principle of “receptive aesthetics”, formulated by V.A. Lukov and Vl. A. Lukov, as well as the “universal return principle” of M.Yu. Lotman. The main findings of the research are culture-study interpretation of the motifs that served as the basis for Japanese artifacts. This is of much practical value, as the proposed interpretations can be applied to any area of cultural production. The interpretations, if necessary, will contribute to the creation of a unique color of the Far Eastern cultures, penetration into their ideological content, decoding of ethno specific meanings. The most important conclusions of the work are a list of typological features of Japanese culture, which are the results of Chinese influence. These features are as follows: religious syncretism, binary perception, seasonality, gender asymmetry, displacement of the animation focus.

Keywords: China, Japan, sense, conscience, gender, syncretism, Shinto, Buddhism, aesthetics, artifact

Abstract: The subject of the author's research is the secularity phenomenon in the history of culture. The purpose of the research is to assess the axiological status of secularity in Russian cultural tradition applying the historical approach. The relevance of the research is proved by the urgent problem of implementation of religious courses in the modern basic and general education in the 21st century. The author analyzes the status of secularity during different historical eras and reveals the impact of this phenomenon on the system of Russian education describing contradictory characteristics at each historical stage. The main research method applied by the author of the article is the historical and cultural analysis of the status of secularity in Russian traditio at different periods. As a result of the research the author draws a conclusion about the unique option of culturological and theological approaches to teaching religious disciplines in the modern system of education. The results of this research can be useful not only for professional culturologists, teachers and psychologists, but also for parents who are concerned about this problem.

Keywords: religiousness, problem, axiology, morals, value, education, axiosphere, culture, secularity, spirituality

Abstract: The object of this research is the representation of the religious in modern descriptive philosophical models. The subject of the research is religion taken as a phenomenon and aisthesis. The author examined the evolution of the phenomenological-aesthetic construction of religion from the enthusiastic reception of R. Otto to the crisis of the intuitive-essentialist phenomenology of religion. Assuming that the resources of this paradigma are not yet exhausted, the researcher illuminates other branches such as the aesthetic phenomenological representation of religion associated with the Munich group of philosophers, the intentional phenomenology of religion that goes through Ingarden. Particular attention is paid to the integral function of phenomenology and aesthetics. The research was carried out mainly with the help of general scientific methods of the theoretical level: comparative, genetic, systemic, and structural types of analyzes. General scientific methods of the empirical level are represented by the account and frequency analysis. As general scientific methods, the author relied on analysis / synthesis, abstraction / concretization, and generalization / restriction. From the private scientific philosophical methods, hermeneutics was used. The toolkit of scientific research includes arrays of scientific knowledge such as rsl.ru, elibrary.ru, google.scholar.ru. The main findings of the study are: 1) the aesthetics and phenomenology of religion are presented as a methodology for transcending religious and cultural differences; 2) the emphasis of intentional phenomenology on the accuracy of the sociocultural description of religion instead of the incomprehensibility of religious entities facilitates the disclosure of beliefs as self-constituting life-worlds, while religion is a form of sociocultural identity and its ontological status entirely depends on the intentionality of participants in a particular social group, which makes religion similar to art; 3) despite the fact that most religions claim the exclusivity of their dogmas, an intentional analysis of the history of their origins allows us to confidently assert that the objects of their faith are rooted in the socio-historical context and are projective entities rooted in the aesthetic structure of consciousness. A special contribution of the author to the study of the topic is the phenomenological-aesthetic constituting of the sociocultural network of being. The novelty of the research consists in conjugation of the individualized vital worlds of science and religion and the attempt of their totalizing theorization through a phenomenological-aesthetic paradigm. The scope of the application of these results includes media policy, intercultural communication, and art criticism.

Keywords: Roman Ingarden, Mircea Eliade, Rudolf Otto, intersubjectivity, heterogeneity, intentionality, aesthetics of religion, phenomenology of religion, the Other, phenomenological description

Abstract: The subject of the research is Russia's experience in studying the audience of art museums as well as development of the sociological research methodology that can be applied to analyse the audience of art museums. The object of the research is the research articles devoted to sociological surveys of the art museum audience in Russia starting from the 20s of the XXth century. The author focuses on the modern state of the relationship between art museums and audience. This allows to trace back the evolution of how museums have understood their audience as well as define particular research methods, identify the problem situation and outline the priority tasks in the sociological study of the art museum audience. The author applies the dialectical approach to studying the experience of social resaerch of the art audience. The research also involves materials that have had the greatest influence on the evolution of the concept of the art museum audience and their research methodology. The main result of the study is the reconstruction of the real picture and the degree of study as the characteristics of the audience of art museums, and the basic patterns of consumer behavior in relation to art. A large number of publications on the results of concrete sociological studies of the audience of museums, held by generations of scientists and museum enthusiasts with different goals and at different scientific and methodological levels, sometimes creates the illusory impression that most problems in this area have already been resolved. However, insufficient understanding of some important patterns of consumer behavior preserves the general problematic situation, which manifests itself in the existence of communication barriers between museums and the audience.

Keywords: consumer behavior, audience segmentation, art, methodology, history of studies, audience of museum visitors, attendance, audience research, visitor studies, econometrics in social studies

Abstract: The article considers three contexts (philosophical, scientific and aesthetic) of the concept of "taking care of oneself". It is shown that in European culture the concepts of "caring for oneself" are very different. A common semantic space is discussed in which such concepts can exist in modern culture, as well as the nature of the work that allows to build an individual life, in accordance with the concept of "taking care of oneself." The author sets out his own understanding of "taking care of oneself." For this he gives a description of the contemporary Russian and world situation and carries out criticism of some psychological interpretations of "caring for oneself" (in particular, phenomenological and projective). The results of the proposed analysis were obtained by the author on the basis of a methodology in which the methods of problematization, the method of comparative analysis, criticism, and citation of authors discussing this topic were used. The author shows that, on the one hand, despite the diversity of personal development options, the general direction of work in relation to oneself presupposes the opposition of bad sociality, as well as the development of the modern person's abilities and competences that allow him to live in a changing and partly catastrophic world. On the other hand, the need to form practically every individual scenario of development and life is becoming more and more realized.

Keywords: uncertainty, solutions, problems, situation, personality, development, life, concept, care, future

Abstract: The subject of the research is Dziga Vertov's, Jean Vigo's and Michelangelo Antonioni's creativity which is rather well studied botj in Russia and abroad. The author pays special attention to such poorly studied aspect as Dziga Vertov's influence on Jean Vigo and Michelangelo Antonioni's creativity. The author confirms their continuity by analysing various sources, both literary and cinematographic. Much attention is also paid how creativity of Jean Vigo and Michelangelo Antonioni relate to French and Italian traditions of cinema. In this research the comparative method is applied to the analysis of communications between directors. Also the phenomenological method is applied. The novelty of this research is caused by the fact that the author describes communication between Dziga Vertov, Jean Vigo and Michelangelo Antonioni applying the integrated approach to the analysis of screen pieces. The conclusion is drawn on what practices of Dziga Vertov were the most valuable to the western cinematograph, and also about Michelangelo Antonioni's innovation.

Keywords: Nikolay Hrenov, Francis Fukuyama, Victor Shklovsky, Gilles Deleuze, Michelangelo Antonioni, Jean Vigo, Dziga Vertov, montage, shooting, plan episode

Abstract: This article is devoted to analyzing the features of the image model used for interpreting the historical reality. Within the framework of this model history, historical fact and historical reality are considered to be a dynamic unity of past and present events. This creates the concept of historical experience including the concept of individual historical experience. According to the image interpretation model, past events are  not abstract but possess national and historical (temporary) content. As a consequence, it is possible to analyze specific features of a particular historical event in a new light, i.e. as a creation of credible and vivid images of the past. The methodology of the research is based on the genetic approach to understanding the concept 'historical reality'. The author analyzes historical continuity of how scientific views on the nature of historical reality evolved which predetermined the culturological interpretation of cultural phenomena. The main conclusion of the research is the proof of the thesis that the concept of historical reality has a double meaning that includes knowledge and understanding of the past, on the one hand, and continuous construction of the present, on the other hand. From the point of view of the image interpretation model, historical reality is viewed as a developed system of signs and symbols that has the status of 'reality' only in the process of learning and understanding the past. According to the author, the image model analysis is as important as other research approaches to history studies.

Keywords: Karamzin, image in art, semiotics, image of the past, historical image, interpretation model, historical reality, Russian history, history of cinema, screen image

Abstract: This article is devoted to the analysis of one of the most complicated and contradictory lyrical songs composed by Sergey Rakhmaninov, The Pied Piper (Op. 38). The song was composed in 1916 and contained verses of a symbolist poet Valery Bryusov. The plot is the old, rather sad medieval legend. The complexity of the poetic and musical texts of the song that creates various and often contradictory interpretations of the image of the pied piper makes us be quite attentive towards the interwinement of the msicla and literary tissues of the lyrical song. The purpose of the present article is to try to undertand the author's message, nature and meaning of the song. The author of the article emphasizes the need in a comprehensive approach to interpreting the song which would allow to compare the poetic and note texts, and verbal and musical images. The author also carries out the semiotic semantic analysis of the lyrical song. The novelty of the research is caused by the fact that the author conducts a thorough analysis of musical and expressive means used by Sergey Rakhmaninov, defines and interprets musical symbols that can be found in the song, analyzes the interval content of the topic and finds intonational parallels with compositions by others. In conclusion the author gives her own interpretation of the general content and imagery of this lyrical song.

Keywords: musical symbols, symbolism, imagery, poetic text, note text, lyrical song, The Pied Piper, performer's analysis, Rahmaninov, comprehensive approach

Abstract: In her article Alieva analyzes "Six sonatas for solo violin" composed by Eugene Ysaye. The author gives a comparison of the performance of these sonatas by the author and other performers in the context of the evolution of violin performance in the 20th century. The purpose of this work is to describe specific influence of the performing style of Eugene Ysaye on his work as a composer, and also to study how the "Six Sonatas for Solo Violin" influenced the development of professional violin performance in the 20th century. According to the results of the study, it should be noted that each sonata is an unusual work, which each violinist-performer presents in his or her own way. In this work, scientific methods of stylistic, comparative-historical, musical-theoretical and intertextual analysis were used, as well as interpretative and performing aspects of the study, which are relevant for "Six Sonatas for Violin Solo." For the analytical study of the musical material of this work, the historical and aesthetic views of Ezhene Ysaye himself were considered. In the course of writing the article Alieva has  also used researches on violin performance and researches of teachers, performers, and Russian scientists such as L. Ginzburg, JI. Raaben, I. Yampolsky, V. Grigoriev, A. Alekseev, V. Yakubovskaya and others. The need to solve the problems posed at the beginning of the research was caused by the fact that there are no works in which the practical performance would be fully studied and which could satisfy the interest of those who are interested in the work of Eugene Ysaye. The scientific novelty of the work is caused by the fact that Eugene Ysaye's creative universalism is shown as that of an artist, composer and teacher. This has become the basic principle for studying and understanding the influence of Eugene Ysaye on the violin performance of the 20th century. In the work it was proved that the performing art of Eugene Ysaye directly influences his composer's creativity. The author also shows how "Six sonatas for violin solo" were performed in different performing styles of the 20th century.

Keywords: specifics of the musical language, sevitus, musician, composer, violin performance, violin solo, six sonatas, means of performance expression, touches, chords

Abstract: The article describes the main variants of representation of classical music in modern media space. The author analyzes features of transformations of classical musical art in the digital media space. The author also considers the way cultural subjects use classical music as a furnishing audio substratum of modern cultural reality. Also, the author underlines the importance of substantial, esthetic and contextual incompatibility of classical musical art with mosaic structure of modern media space. In the research the author provides particular examples to support the fragmentation of composition, reduction of the semantic basis and leveling of art value of classical music in the Internet space. In his article the author uses structural-functional and comparative methods that help to illuminate the main characteristics of representation of classical music and its transformations in the digital media space. The novelty of the research is that classical music is analyzed as a furnishing audio substratum of modern virtual and material reality. The modern media space allows to use classical music everywhere as the serving phenomenon of cultural reality which decreases in value as a type of art and becomes responsive to transformations and indistinguishable from the other audio content musical substratum.

Keywords: transformations, classical artifact, furniture music, clip culture, work of art, Internet, modern media space, classical music, representation, media culture