Abstract: Considering the semantic space of Franciscan spirituality in “Saint Francis of Assisi. Franciscan Scenes” by Messiaen, the author of the article looks into a modern interpretation of Christian ideas that are relevant to St. Francis’ life and work. The author analyzes symbolic images and fundamental ideas pertaining to high scholastic period and more precisely, the way those ideas reflect in the concept of Messiaen’s ‘poem’. The meaning of some hagiographic texts touching upon the life and work of St. Francis has been found out in the poem, as well as a few theological ideas of modern thinkers, namely Claudel, Guardini, Teilhard de Chardin, Balthasar. It is also noteworthy to point out some semantic coincidences and differences of interpreting the ideas of Catholicism in Claudel's mystery “The Tidings brought to Mary” and in Messiaen's poem. For the first time, the method of hermeneutic reconstruction has been applied to interpreting Messiaen’s intent as to the concept of his work. Discerning the ideas of high scholastics depicted in his poem leads to creating a new idea of Franciscan spirituality. Moreover, similarities and differences in the interpretation of Catholic ideas have been unprecedentedly revealed in P. Claudel's mystery “The Tidings brought to Mary” and Messiaen's “Franciscan Scenes”. Messiaen captures examples of St. Francis’ spiritual exploits and his evangelical life and death by paraphrasing philosophical and poetic writings which date back to the last years before the saint's demise: “The Canticle of the Creatures,” “The Canticle to Brother Sun,” “A Salutation to the Virtues”, and “On true and perfect Joy”. Through an artistic lens Messiaen looks at such Chistian ideas as revelation; a relationship between man, the world and God; predestination / providence; “illumination”; death and resurrection of the dead’ divine truth; “all things are good”; true and perfect joy.

Keywords: Catholicism, libretto, Christianity, predestination, revelation, illumination, St. Francis of Assisi, Messiaen, poem, scholastic

Abstract: The article is devoted to the analysis of the concepts of everyday life in the works of M. Heidegger and R. Barthes. Based on textual and comparative analysis, the author offers her own interpretation of the meaning of the concept of "everyday life" in "Being and Time". In the first section of the study, the author examines Dasein and some structures of its existence, the concept of "das Man" as the basis of inauthentic existence, two modes of Dasein's existence and their connection with the meaning of everyday life. Particular attention is paid to Barthes's work "How to Live Together: Novelistic Simulations of Some Everyday Spaces", which is a collection of his lectures, his concept of "idiorrythmie" in connection with the study of the structure of everyday life. Barthes continues the work begun by Heidegger, but tries to establish and reveal the cultural and ideological influence on human everyday life. To accomplish the tasks, the author uses a methodology that is based on the methods of textual and comparative analysis, as well as the problematization of concepts. The main conclusions of the conducted research are, firstly, the identification of three possible meanings of "everyday life" in the work "Being and Time", secondly, the disclosure of the discourse on everyday life in the framework of R. Barthes's philosophical works, thirdly, an attempt to identify the cultural and ideological influence on the grasp of everyday life by man. Thus, it was established that everyday life itself, as an a priori-ontological condition of human existence, is unchangeable, but only the perception of everyday life by man or his way of grasping everyday life in consciousness changes. In this sense, Barthes continues and brings to a new level the work begun by Heidegger, but he starts not from individual consciousness, but from the life of the "I" with others in everyday life as a space of idiorrhythmes. The discovery of common features of reflections on everyday life in Heidegger and Barthes prompts the author to trace the influence of philosophical texts on changes in the subject of the humanities.

Keywords: conscience, utopia, The myth, popular culture, idiorrythmie, das Man, Dasein, everyday life, Barthes, Heidegger

Abstract: The article is devoted to the study of the role of traditional Chinese instruments in the chamber and symphonic music of Tan Dun. In this aspect, such works as Ghost Opera, Concerto for String Orchestra and Pipa and Crouching Tiger Concerto are analyzed. The authors consider in detail various types of interaction between traditional Chinese instruments and Western ones in terms of their influence on the general artistic idea of Tan Dun's works, as well as in the context of the relationship of the timbre side of music with other elements of the sound fabric. In connection with the problems of the article, some aspects of the concept of "organic music" by Tan Dun are also touched upon, the origins of which are found both in traditional Chinese culture and in Western music of the XX century. Thus, the multicultural nature of this original artistic concept is revealed. In the course of the research, the authors turned to the methods of holistic musicological analysis, comparative analysis (comparison of Ghost Opera and Concerto for String Orchestra and Pipa), comparative cultural method. Based on the analysis of Tan Dun's works, the authors conclude that national instruments are interpreted by the composer as carriers of Chinese culture and, interacting with Western instruments, act as subjects of multicultural dialogue. Depending on the concept of a particular work, traditional Chinese instruments in the composer's works can be represented as characters of instrumental theater, members of an instrumental ensemble (orchestra) in the context of Western musical genres, as well as as sound images reproduced by other instruments. The authors identify the application in Tan Dun's music of two concepts of working with musical material borrowed from different cultural traditions: collage and symbiosis. The article provides a rare example of using both methods of work in relation to the same musical material, which was implemented by the composer in Ghost Opera and Concerto for String Orchestra and Pipa.

Keywords: Crouching Tiger Concerto, organic music, Chinese New Wave, organic materials, synthesis of cultural traditions, Ghost Opera, multicultural dialogue, Concerto for Pipa, traditional Chinese instruments, Tan Dun

Abstract: The article presents a reconstruction and analysis of Salman Rushdie's famous book "The Florentine Enchantress". It is not very clear why she is so named, there are more significant figures in the novel, for example, Emperor Akbar. The question is raised about the integrity of artistic reality and the peculiarities of readers' understanding of the novel. In connection with this statement, the author recalls his distinction between two ways of constructing a modern work of art: in the first, the artist recreates the world opposed to him (including in some cases himself, but as alienated), in the second, he creates a reality reflecting the peculiarities of his own consciousness (this approach is called "private realism"). It is proposed to carry out a reconstruction that allows you to understand the work of art in terms of how it is constructed, what its author wanted to say, whether it is possible to reconstruct what he did, whether he succeeded in the idea, what his work was, etc. The implementation of this program results in an analysis of Rushdie's personality characteristics, as well as a description of the main tasks that he solves (reviving the story, entertaining readers, expressing one's own beliefs). Rushdie creates characters who live in two different realities ‒ historical and modern, as a result, history is partially distorted, and the characters acquire contradictory features. The techniques by which the artistic reality of the novel is created are analyzed in detail. The first technique is the identification of historical subjects with non‒historical ones, the second is the connection of storylines necessary for the author, the third is a technique widely used by Rushdie, not only to connect different lines and realities, but also for his other two purposes (entertaining readers and expressing his own thoughts) ‒ it's magic and fantasy. The question is considered why many readers do not understand the "Florentine Enchantress" well. There are two reasons for this. One is related to the very attitude of understanding: readers start reading Rushdie's works, believing that they are looking at an ordinary novel, but in fact we are talking about the genre of private realism. The second reason lies in the unpreparedness of readers to work with such complex material, which involves recreating a complete work and reality based on the images, storylines, themes and other expressive means offered by the author.

Keywords: fiction, fantasy, fairy tale, plot, reconstruction, artistic reality, composition, misunderstanding, understanding, history

Abstract: The aim of the study was to trace how Japanese animation follows changes in society and reflects them through the prism of the author's vision. We have already studied this aspect using the example of a female artistic image. The subject of our current study is the artistic image of a modern man; the object was the image of a Japanese man in the anime "Paprika" by director Satoshi Kon. The novelty of the study can be defined as the introduction of new, previously unpresented material into scientific circulation. We did not find any works on the study of the male artistic image in Satoshi Kon's anime "Paprika". Compared to all the images of men in the anime "Paprika", it is the artistic image of Dr. Kosaku Tokita that turned out to be multifaceted, unusual, complex, and, along with national traditional features, in many ways innovative for Japanese anime of the early 21st century. This allows us to say that the place of the main male character in the anime "Paprika" by Satoshi Kon is certainly given to Kosaku Tokita, "mixing" the typical characteristics of traditional images and adding notes of modernity. By creating an artistic image, Satoshi Kon generalizes elements of real characters. Such an unusual artistic interpretation for Japanese anime is a confirmation of the fact that an artistic image is, first of all, a reflection of the world, society and culture. Satoshi Kon is a representative of Japanese society, which is rapidly changing, and Japanese culture is changing, its traditional images that have existed in the Japanese cultural space for centuries. The European viewer, due to the fact that the anime genre has gained wide popularity, naturally immerses himself in the environment of Japanese realities along with the fact that he is familiar with Western nuances, which are sufficiently saturated with modern Japanese animated films.

Keywords: Japanese culture, Paprika, Anime, Satoshi kon, Artistic image, Scientist image, Fat man image, Japanese man, Male image, Japanese art

Abstract: This article describes the artistic phenomenon of Xieyi in Chinese culture, examines the essential characteristics of the Chinese culture of handwritten writing, especially on the example of Taoist images, analyzes their unique value in artistic expression and cultural heritage. The author examines in detail such aspects of the topic as the definition of the culture of free Thought, its historical evolution, its connection with Taoist thought, as well as the cultural meaning and artistic characteristics of Taoist images. Special attention is paid to the detailed analysis of Taoist images in the artistic culture of Xieyi, which allows us to trace their historical origin and evaluate their heritage and innovation in modern art. A historical and cultural excursion into the formation and development of the Xieyi artistic style in Chinese culture allowed us to identify the philosophical and cultural meaning of Taoist images and their reflection in the Xieyi artistic culture. The research was carried out using the methods of deconstruction, comparison, formal and semiotic analysis, as well as the analysis of iconography. As a result of the research, the author comes to the conclusion that the reflection of Taoist images in the artistic culture of Xieyi has a deep spiritual meaning. The cultural significance of Taoist images lies in the fact that they are an integral part of religious rituals, spiritual practice and cosmology. Today, the interaction of Taoist images and modern art is deepening and developing thanks to artists who enrich the methods of expressing art and expand its content and meaning. Such a dialogue contributes to the emergence of new opportunities for the development of contemporary art. The inner artistic culture of free self-expression reveals the value and modern significance of Taoist art, embodies the aesthetic taste and philosophical thoughts of the Chinese nation with its unique intention for the artistic individual expressiveness of the main idea of the painting. The reception of Taoist images in the artistic culture of the Xieyi is a link between East and West, traditional and modern art, promotes cultural exchange and integration.

Keywords: artistic culture, artistic concept, hand-painted art, Taoist art, artistic expression, modern art, Chinese culture, Taoist culture, Taoist images, Xieyi

Abstract: The object of this study is the diaries of the Russian Successor and Grand Duke Michael Alexandrovich for 1899-1903. The subject of the research is the information potential of the diaries for the quantitative and qualitative expansion of the exposition dedicated to Grand Duke Michael Alexandrovich in connection with the process of museification of the historical building of the former Perm hotel "Korolyov's Rooms". The article examines the contents of the diaries of the Successor, pays special attention to the records of the Grand Duke, which allow to reveal such sections of the exposition as the family environment and daily life of Grand Duke Michael Alexandrovich, his places of residence, educational training, military, state and public activities, foreign trips. The method of source analysis allows us to identify the features of the diaries of Grand Duke Michael Alexandrovich in the context of the historical epoch and the personal characteristics of the author, to isolate the thematic headings necessary for the formation of the exposition in the text of the document. The diary entries of Grand Duke Michael Alexandrovich for the period when he was the Successor to the Russian throne are being prepared for the first time as materials for a museum exhibition. Based on the diaries, it becomes possible to show through the prism of the hero of the exhibition his family ties. The features of Grand Duke Michael Alexandrovich's daily life and everyday life in the Gatchina Palace and other residences, his interests and hobbies, trips around Russia and abroad are revealed. In various details, it is possible to show the military service of the young Successor, his participation in the activities of the highest state institutions of the Russian Empire, public service as a patron and trustee of various institutions.

Keywords: exhibition, museum, diary, source criticism, Perm, Korolyov's Rooms, archive, Successor, Grand Duke, Russian Imperial House

Abstract: In China, freehand brushwork is an important part of traditional culture. It is rooted in China's long history and profound cultural soil, and embodies the unique aesthetic concept and philosophical thought of the Chinese nation. Freehand brushwork is not only an artistic expression method, but also a spiritual pursuit and philosophical thinking. With the rapid progress of globalization and the rapid development of modern science and technology, traditional cultural arts are facing unprecedented challenges and opportunities. In the wave of the fourth industrial revolution, advanced technologies represented by artificial intelligence, big data, and virtual reality are profoundly changing society, and the way of artistic creation and dissemination have also undergone tremendous changes. In this context of rapid technological development and multicultural integration, preserving the humanistic spirit and cultural value of traditional Chinese freehand brushwork has become an important topic of concern for contemporary artists and cultural scholars. This article aims to explore how to broaden the expression form and cultural dissemination method of freehand brushwork art with the help of modern science and technology, so that it can keep up with the development of the times while maintaining the traditional spiritual core and radiate new vitality. It is hoped that as science and technology develop, a balance can be found between tradition and modernity, so that Chinese traditional culture and art can maintain their unique national and humanistic characteristics in the process of globalization and continue to contribute unique wisdom and value to world culture.

Keywords: humanizm, digital technology, fourth industrial revolution, traditional culture, digital art, Chinese Xie-yi art, China, cultural identity, cultural heritage, cultural value

Abstract: The object of the research is modern Chinese animation design and its evolution over the past 70 years. The subject of the research is the potential for rethinking traditional cultural connotations of Chinese shadow theater in modern animation design. The synthesis of the canonical principles of shadow theater with modern animation technologies enhances the expressiveness of cartoons and their ability to convey philosophical, ethical, artistic and technological values. The theoretical analysis of the problem and the practical development of innovative methods of animation design by the author using digital technologies open up new prospects for preserving cultural heritage and finding ways of innovative development of traditional culture. The article uses a comprehensive methodology of cultural studies, art history and computer technology to analyze the processes of rethinking the traditions of shadow puppet theater in modern Chinese animation design. The methods of comparative research, experimental design and expert exchange help to evaluate representative works of contemporary animation in terms of visual style, narrative structure and cultural narrative. The author argues that the processes of enriching contemporary animation with philosophical ideas and ethical imperatives of traditional Chinese culture on the one hand and rebranding traditional culture through animation on the other hand help to preserve the cultural identity of Chinese animated films and enhance their competitiveness in the global market. Careful reinterpretation of cultural connotations enables animated films to preserve and promote traditional virtues such as loyalty, filial piety and courage in figurative form. On the artistic level, Chinese animation design draws on the aesthetics of traditional art, classical painting and calligraphy, and humorous storytelling, combining them into a unique visual style. The latest technologies enrich animation design and open up new possibilities for a modern interpretation of traditional Chinese culture.

Keywords: China, digital technology, moral imperatives, shadow play, cultural heritage, animation design, three-dimensional animation, culture connotation, tradition culture, motion capture

Abstract: The article is devoted to the analysis of the importance of sound recording in the context of jazz music and its ontology. The object of the study is sound recording in jazz, and the subject of the study is its impact on the preservation of the cultural heritage of jazz, the formation of historical memory and the impact on the development and perception of jazz music. Within the framework of this study, the functions and types of sound recordings are analyzed, their significance as documents recording musical performances and as independent works of art. The article examines the impact of technological changes in sound recording on the artistic aspects of performance, as well as their role in stimulating innovation and transformation in jazz culture. Special attention is paid to how sound recording forms the ontological aspects of jazz, providing mediation between the performer and the listener and conveying emotional and cultural contexts. The research methodology includes an analysis of various functions and types of sound recordings, as well as an assessment of their impact on jazz culture through a systematic approach. The main results show that changes in recording technologies significantly modify the artistic aspects of performance, contributing to innovation and transformation in jazz culture. The findings of the study emphasize that sound recordings perform key functions in the ontology of jazz, acting as mediators between the performer and the listener, ensuring the transmission of emotional and cultural contexts. They are an important tool for analyzing and preserving musical heritage, contributing to an in-depth understanding of jazz as a dynamic cultural phenomenon. Jazz music continues to evolve through the interaction of performers and the audience, as well as through technological and creative experiments, which emphasizes the importance of sound recordings in this process. The findings of the study emphasize their critical role in supporting and preserving jazz culture in the context of its constant evolution.

Keywords: Recording technology, Musical heritage, Jazz history, Improvisation, Monk Thelonious, Music industry, Jazz, Ontology, Recording, Cultural impact