Abstract: Temple programs of the Romance epoch widely represented the Christ in Glory (Majestas Domini) image in portals and apses of temples and little parish churches. That image could be either a part of a more massive iconographic scheme or a concise piece drawn on the portal tympan or apse conch. The subject of the research is the structure and symbolism in the image of Christ in Glory in Western European temple decoration of the XIst - XIIth centuries. The object of the research is the representation of that image in various Western European monuments of that period. The main research method used by the author of the present article is the method of iconographic analysis that implies comparison of the program of monuments themselves and associated texts from the Bible, texts of masses and liturgic manuscripts. The novelty of the research is caused by the fact that the author defines liturgic symbolism of this composition with reference to particular objects and including it into the general interpretational picture for each program. Such approach allows to achieve better understanding of the visual language of the Roman temple decoration in general and each program in particular. As a result of this research, the author concludes that at least starting from the Carolingian epoch the image of the iconographic scheme 'Majestas Domini' in temple programs does not only symbolically depict the beginning of the Eucharistic prayer but also becomes the key to understanding complex iconographic programs directly related to the visual representation of evangelistic themes. 

Keywords: portal, Romanesque churches, temple decoration, interpretation, visual sermon, apse, liturgical symbolism, Christ in Majesty, Eucharistic Canon, iconographic program

Abstract: The subject of the research is the student movement at Novosibirsk State University (NSU) in 1963 - 1967 as part of a wider opposition movement in the Campus. Previous researches and articles devoted to this topic do not fully reveal the history or specify of this phenomenon. According to the author of the article, civil activity was the unexpected side effect of the Siberian expirement. Analysis of the phenomenon may help to seek solutions aimed at the renovation of the society system. The article is devoted to the analysis of prerequisites and factors of the student movement as well as a full range of their activities including self-management, club forms of activity, antisemite trial, participation in the university's rector elections, preservation of the university's autonomy and academic freedoms, protection of teachers and students against political repressions. The article has been written at the intersection of several genres and methods: documented facts from the history of the student movement are accompanied with students' and teachers' memories, sociological observations are combined with statistical data. The main contribution of the author is the analysis of the student movement of NSU in the 1960s, its grounds, forms and main actions and activities, precedents and reasons why the movement stopped existing. This is the first analysis of this kind in the academic literature. It is shown that it was the first open, legal and longest student movement since the 1920s. It was the example of opposition without dissidence, independent movement aimed at self-management and transformation of the society system. It had the best effect on the development of the civil society than all the other famous student movements of that time.

Keywords: Novosibirsk State University, NSU, campus, social changes, university's autonomy, cultural grounds of power, cultural life of the 60s, independent style of life, civil society, student opposition movement

Abstract: The author of the article analyzes the views of Fedor Dostoyevsky on the historical process and the mission of Russia in relation to Europe. The author puts and seeks answers to two main questions: the reasons for Dostoevsky's spiritual rebirth, and also why Dostoevsky believed that it is Russia that will guide Europe. Relying on Zenkowski's fundamental study "The History of Russian Philosophy," the author shows that Dostoevsky was thinking and was looking for solutions to Russia's problems within the framework of the cultural tradition set out by M. Karamzin and P.Chaadaev. The essence of this providential Orthodox concept, its development in Dostoevsky's Diaries of the Writer, as well as in the works of Konstantin Leontiev and Alexander Solzhenitsyn, is considered. The break of this tradition is discussed as a result of the October revolution of the seventeenth year. The following methodology is implemented in the work: problem formulation and situational analysis, cultural and historical reconstruction of ideas, comparative analysis of views, hypotheses, confirmation of their texts by the corresponding authors. As a result of the study, two main results were obtained. First, it was possible to see the socio-political search and decisions of Dostoevsky in a new way, in particular to show what he thought in the framework of the Orthodox providential social concept (tradition). Secondly, it was possible to analyze the very concept and its fate.

Keywords: spirituality, orthodoxy, problems, revolution, soil, people, tradition, concept, tsar, government

Abstract: In the article the author touches on such pressing issues as the relationship between the master and the customer, the degree of participation of the owner in the artistic process, evolution of the private order during the XVIII - first half XIX, state regulation of private construction and raising the artistic taste of the customer. Being important for the history of art, all these questions are considered on the example of a rich and noble Apraxin family. The object of the research is the monuments of architecture and works of art belonging to their family. Comparison with the cultural heritage of other senior dynasties has allowed to reveal the peculiarities of private ordering in the Apraxin family. The author of the article has used sociological research method, and reconstruction method, iconology, and stylistic analysis of works. The novelty of the research is caused by the fact that the author is the first to assemble and summarize the contribution of Apraxin dynasty in the history of art. Most of the monuments of art belonging to the Apraxin family were not preserved, so they were reconstructed according to the archival documents and for the first time introduced into the academic literature. Analysis of the collected material has allowed a new perspective on previously known monuments and try to understand the content that is invested in them by the customer. In the process of the research they author has made several general conclusions on the subject of private ordering.

Keywords: estate of Olgovo, art of the New time, collection of works of art, country estate, portrait gallery, artistic taste, private customer, Apraxin family, semantic program of the estate, iconography

Abstract: The subject of the research is the trick performance as an element of cinematographic language. Analysis of the development of silent film clearly demonstrates that there are certain stages of implementation, adaptation and development of tricks that is later transformed into cinematographic tricks by the means of cinema. Combined actor's, cameraman's and cutter's techniques made cinematographic tricks to be the most spectacular part of the cinematographic language. At the very beginning when it was just an element of the plastic partition of a hero's role, trick performance enriched the film's narrative structure with bright emotional colors. 'Montage of attractions' of Sergey Eisenstein implied cinematographic trick attraction, too, and the trick performance art of the Battlehip Potemkin is a brilliant example of it. The main conclusions of the author's differentiated analysis of trick performance during the silent film epoch focus on the following: a) analysis of trick performance art in terms of the plastic role partition during the silent film period, b) study of transformations of tricks into cinematographic tricks, c) particular features of the cinematographic language identification of tricks in the structure of a cinematographic phrase as an element that form the message of the film. 

Keywords: trick cinema, imitation trick, trick metaphor, trick performance, cinematographic phrase, cinematographic language, plastic expression, cinematographic trick, plastic role partition, trick performance art

Abstract: The subject of this research is John Cage's methods of composition used by him in the 1940th years: melodic or rhythmic ostinato, counterpoint technique and rhythm pattern technique. He has found in these, initially traditional methods of composition, something new and has anticipated what will appear in music later, in particular, ways of the repetitive technique used by minimalists. Special attention is paid to such Cage's works as Metamorophisis and Amores Cycles as well as Credo in Us that present the composer's typical style. The research method used by the author to analyze Cage's composition technique involves analysis of the sound material, its features, and principles of organisation of small and major structural units and form in general. The novelty of the research is that Cage's techniques (ostinato, counterpoint, rhythm pattern technique, etc.) are studied in detail on the example of musical pieces for the first time in Russian academic literature, and the early period of works by Cage, who is better known as an experimenter and avant-gardist, is also researched for the first time in Russian literature. At the same time there is a discovered individual approach in using of these methods of the composition which are characterizing composer style of Cage.

Keywords: twelve-tone technique, counterpoint, seria, ostinato, rhythm, technique, composition, Cage, music, pattern

Abstract: Chinese calligrapher Zhang Qiang (born in 1962, People’s Republic of China) is a reputable researcher in aesthetics of the traditional calligraphy, expert in the history of the Western art, theorist of the avant-garde calligraphy and creator of the calligraphic traceology (from the mid 1990’s to the present moment). Multiple exhibitions and calligraphic performances by Zhang Qiang in China and abroad made him a prominent figure in the modern calligraphy. Zhang Qiang perceives the future of calligraphy in its roots, which are linear flourishes of the ink, which depict deep-seated acts of conscience. Zhang Qiang, in trance and with his eyes closed, makes spontaneous strokes with a brush, which leaves traces of ink on the long slips of paper, geometric figures or directly on the bodies of the assistants, who decide themselves, where and how the brush of the master touches them. Zhang Qiang engages interaction of the male and female energy, thus creating new forms of calligraphic expressiveness, while implementing the internal connection with the basics of the traditional aesthetics. Zhang Qiang’s works are the most radical attempt at Sinification of the western avant-garde art.

Keywords: zhi, shuang mian shufa, jiushen shufa, xingwei shuxie, xingwei yishu, zongji shufa, zili menhu, yang sheng, xiandai shuimo zhi, de men er

Abstract: The essay is dedicated to the famous bayan player, teacher and composer, Honored Artist of the RSFSR Ivan Yakovlevich Panitsky, whose 110th anniversary is celebrated in 2017. The author acquaints readers with musical events dedicated to the outstanding performer, initiated by the Department of Folk Instruments of the Saratov State Conservatory named after L.V. Sobinov. It was Panitsky, a blind natural genius, musician from the Volga village of Balakovo, who was to open the way for the Russian bayan to the academic stage, to substantially enrich the concert repertoire of professional bayan players. His adaptation and variations on the themes of Russian folk songs, settings of works of musical classics for bayan, as well as original compositions form the artistic layer of the national culture. Panitsky's fate is described in the context of his spiritual connection with his birthplace, which determined the main direction of the musician's creativity - the sphere of instrumental lyrics. Attention is drawn to Ivan Panitsky’s outstanding role in the birth of professional bayan training in Saratov. In this essay, the historical method, on the basis of which the biography of the musician is studied, as well as the method of musicological analysis of the work are used. As an example of Panitsky's bayan lyric, the play of Waltz "Reminiscence" is analyzed. The author describes the characteristic ways of working with musical material, revealing the main lyrical idea of the work: improvisation, polyphonic texture, variation, variety of timbre paints of bayan. The novelty of the research is caused by the fact that the author summarizes data concerning the role of the lyrical theme in the works of Ivan Panitsky.

Keywords: national instrumental art, waltz, Saratov State Conservatory, Saratov, traditions, Panitski bayannya lyrics, Volga, anniversary, bayan virtuoso, Panitski

Abstract: There are two reasons for the author of the article to have chosen to study the history of research of musical stylistics in Old Believers' religious verses. The one reason is that Old Believers' memorials were distinguished from the general Russia's repertoire quite late. The other reason is that there is a priority attention towards contents and poetic features of spiritual songwriting. The purpose of the present article is to systematise information sources that describe the history of establishment and development of researchers' interest in musical stylistics of Old Believers' spiritual verses while paying attention to the note publications and theoretical findings of different research genres. By using historiographic methods, the author has defined 70 publications including note compilations, or note records of individual samples in regional periodicals, descriptions of book compilations, musical poetical interpretations of local repertoires, and researches. Comparative analysis of publications has allowed to define key problems of researches devoted to Old Believers' spiritual songwriting, and to describe to what degree these regional traditions have been studied. The data that have been analysed prove that melodic features of spiritual verses are of great interest to reseachers in the spheres of musical archeography and medieval studies, ethnomusical studies, history of music, and regional studies of music that reveal musical-stylistic features of Old Believers' spiritual verses. The information sources systematised by the author can be used as references in various researches. 

Keywords: regional traditions, notes, researchers, theoretical work, publication, compilations, spiritual verses, Old Believers, musical-stylistic features, historiography of the study