Abstract: The subject of the study is the study of such a specific genre as dystopia, which is the dominant form of society in post-apocalyptic worlds. The object of the study is dystopia and post-apocalypse in cinema, as well as their features in modern realities. In the course of the research, special attention is paid to the study of the substantive essence of such definitions as "dystopia", "apocalypse" and "post-apocalypse". Special emphasis is placed on the fundamental difference and differences between apocalyptic and post-apocalyptic events. Special attention is also paid to the reasons and factors that cause the return of popularity of dystopian narratives to cinema. In addition, the social, political and philosophical orientation of the genre of dystopia is considered. В В В В  The main conclusions of the study are the conclusion that cinema, thanks to its dynamic audiovisual nature, allows dystopia to reveal its potential as an exciting and entertaining genre, while provoking the viewer to critical reflections and actions. The author's special contribution lies in the fact that during the analysis it was possible to substantiate the statement that the vision of dystopian cinema and, accordingly, the content of films varies depending on events occurring in a certain historical period of time, which allows us to depict various characteristics of the post-apocalyptic world. The scientific novelty of the research consists in conducting a discussion about the historical background of the terms "apocalypse", "post-apocalypse" and "dystopia" within the framework of the new millennium and the events that occurred and influenced the whole world and its perception of a possible end.

Keywords: film, viewer, perception, society, the end of the world, post - apocalypse, cinema, dystopia, criticism, culture

Abstract: The subject of the study is the period of Russian symphonic music of the 1960s. A new generation of "sixties" composers has entered the Soviet music scene, imperiously declaring themselves with bright creative achievements, fresh and modern musical language. The epoch of the turning point dictated a new reality, required new artistic thinking, generated diverse creative ideas. The panorama of Russian music was quite colorful, many things in art appeared and disappeared very rapidly, stylistic pluralism, lost at the dawn of Soviet power, returned to the music scene. Special attention is paid to the works of composers of the Leningrad school — S. Slonimsky, Y. Falik, L. Prigozhin and V. Gavrilin. All of them opened new stylistic horizons and absorbed into their sound orbit the main trends of modern music, including the conquests of the Western avant-garde.   The scientific novelty of the work consists in the fact that the author examines the bright and original works of young Leningrad authors in the context of stylistic and linguistic innovations of the 1960s. The article analyzes the role and place of "Sixties" composers in the struggle for "new music". The main conclusion of the article is the idea that the period of musical renewal of the 1960s under consideration turned out to be extremely saturated with the most complex and diverse problems: ideological, general aesthetic, musical style. S. Slonimsky, Y. Falik, L. Prigozhin, V. Gavrilin became undisputed leaders in the renewal of Russian music of the second half of the twentieth century, and their works-"symbols" fully reflected the intense search of the post-war generation of Soviet composers.

Keywords: update, a new folklore wave, symphony orchestra, Soviet music, symphony, Leningrad composers, dramaturgy, music of the twentieth century, musical theatricality, Leningrad

Abstract: The article discusses the current topic of international interuniversity exchanges in the field of theater education. The subject of the study is the interaction of theater schools in Russia and China within the framework of the experimental Russian–Chinese theater and educational project of the Central Academy of Drama (Beijing) and the Russian State Institute of Performing Arts (St. Petersburg). The project has been implemented since 2015. According to the terms of the project, Russian and Chinese teachers of acting and special disciplines work together in St. Petersburg and Beijing. Upon graduation, students receive diplomas from two universities recognized in both countries. The author, a direct participant of the project, analyzes the results of this experiment from the position of compliance with the principles and requirements of the dialogue of cultures.   The novelty of the research lies in the substantiation of the cultural value, the prospects of the modern version of the interaction of theater schools in Russia and China. The results of the study were the following conclusions: in the implementation of the Russian-Chinese theater and educational project, all the basic conditions are present and fulfilled, which make it possible to determine the events, events and their results that took place within the framework of the project as a full-fledged dialogue of cultures. Today, as never before, there are points of contact and mutual enrichment of the cultures of Russia and China. There are mutually significant cultural ties, dialogue and interaction of cultures. This variant of intercultural interaction is also productive from the point of view of innovation, creating a unique field of cross-cultural experiments.

Keywords: dialogue of cultures, principles of intercultural interaction, russian theatrical tradition, actor training, chinese students, theater and educational project, theater school, internationalization of higher education, interuniversity exchanges, cultural globalization

Abstract: The purpose of this article is to identify a close, "polyphonic" connection, consolidation of ancient forms and techniques of compositional writing of the twentieth century. The subject of the study is the choral creativity of Alexander Vustin. The object of the study is the consideration of polyphonic works of techniques in A. Vustin's composition "Veni Sancte Spiritus". The musical language of A. Vustin is characterized by extreme restraint, depth, semantic concentration. The appeal to ancient polyphonic genres, forms and techniques of writing in A. Vustin's choral compositions is characterized by an individual approach to solving a creative idea. The nature of the presentation of the original source, the methods of working with it acquires uniqueness in accordance with the new artistic tasks of modern music. Through the synthesis of research methods, including musicology, poetics and choral studies, the parameters of a musical composition are revealed: a musical-text source is attributed, genre specifics and musical form are analyzed. The author examines in detail such an aspect of the topic as the dialectical interaction of constructive and destructive formants of the architectonics of the musical form of polyphonic compositions for chorus. Special attention is paid to the ancient technique of writing on the cantus firmus in its refraction in modern choral composition.The main conclusion of the conducted research is the paradigm of artistic connections of genres, forms and techniques of ancient polyphony with modern means of compositional writing (sonorica, aleatorica and others). Attention is focused on the need to study the issues related to the architectonics of modern choral composition, due not only to the general artistic and historical potential of choral culture as a whole, but especially its great importance in modern musical art. The novelty of the research lies in the fact that for the first time polyphonic techniques in modern choral composition are analyzed from the standpoint of musicology and choral studies. A special contribution of the author to the disclosure of the topic is the study of the composition "Veni Sancte Spiritus" by A. Vustin, which has not previously been the object of special research, and its introduction into modern scientific usage.

Keywords: polyphonic form, polyphonic genre, polyphony, concert piece, creative method, choral art, modern music, Wustin, writing technique, contemporary music art

Abstract: This article examines the symbolism contained in the works of Jianzhi art. As a simple folk art, papercutting in Jinzhou has its own aesthetic and educational style that penetrates the hearts of people and raises them to a higher spiritual level. Jianzhi can represent the spiritual worldview of a certain era in the region. Among the symbolic images, images of animals, plants, figures, objects, hieroglyphs and patterns were studied. Jianzhi's works of art are combinations of various patterns, shapes and motifs that contain deep symbolism. The study of images and symbolic meanings will expand knowledge about the culture and customs of the region, as well as create opportunities for the preservation of this unique art form containing the intangible cultural heritage of China. The article concludes about the uniqueness of the stylistics and symbolism of this art direction in the described region. It is claimed that Jianzhi's works reflect the culture, customs and peculiarities of the Jinzhou district society. From the point of view of intangible cultural heritage, the art of paper cutting in Jinzhou is the artistic embodiment of the material and spiritual culture of the people. It is concluded that it is necessary to preserve this kind of art and the subsequent study of its symbolism in order to preserve the intangible national heritage of China.

Keywords: culture, traditional culture, China, traditional art, art, Chinese culture, Chinese symbolism, semiotics, symbolism in art, jianzhi

Abstract: The subject of the research is the ways of substantiating the fundamental concept of aesthetic science -- the category of aesthetic in Kant's philosophy. The author examines such aspects of the topic as the content of transcendental philosophy, in which the mind indulges in a purely aesthetic occupation, draws for himself the structure of the whole, the congruence of the conditions of the work of art of a priori fulfillment of feelings, understanding the category of beauty under the sign of aesthetic intention cogito, analysis of how the artist combines the aesthetic aspects of the thing in itself with the incommensurable worlds in the work art. The aesthetic exists in a kind of universal space, which is defined by the transcendental as the "last foundation". The main conclusions of the study is the statement that, by analogy with transcendental aesthetics, Kant admits an aesthetic of pure practical reason that is not identical to it, expressing the hope that in the future it will be possible to comprehend both as elements of the unity of the entire faculty of pure reason. The author's special contribution to the study of the topic is the search in the context of the philosophical interpretation of the concept of aesthetic pleasure, as it is carried out within the framework of Kant's moral philosophy. The novelty of the research lies in identifying the dramaturgy of the foundations of the aesthetic, which does not presuppose any of its scenario as a basis for building aesthetic thinking, in revealing how the system of aesthetic interactions and syntheses correlates with structures ideally initial in relation to the world and man, with absolute foundations, without which there is no aesthetics.

Keywords: Mamardashvili, Derrida, Heidegger, Husserl, Kant, creativity, metaphor, art, aesthetics, metaphysics

Abstract: The purpose of the article is to substantiate the main theoretical and methodological provisions of museology as a humanitarian science. Its basic concepts are formulated from idealistic positions, its methodology is defined. As an object, the ideas of a person who creates a museum reality to achieve influence on the consciousness of other people are considered. The idea of a particular museum, realized in objective reality, is defined as the subject. The subject of museology is also the process of realization of ideas – the functioning of museum reality and the process of its perception by visitors. The purpose of the museum is to make certain changes in the consciousness and attitude of another person – a visitor. The methodology of museology as a humanitarian science is based on the method of understanding, which provides comprehension of the ideas underlying the museum. Methods play a special role: communicative and construction. The goals of the museum determine its functions, the most important is the communicative one, it is she who realizes the main goal of the museum – to convey ideas and feelings from the museum employee to the visitor. The ways to achieve the goal may change with changing attitudes in society, while the museums themselves and their functions change. The main factor determining the role and social significance of museums is a person's interest in them, which manifests itself when the ideas embedded in their foundation correspond to the main ideological ideas prevailing in society and help people solve their vital problems. A museum should be relevant only when it plays an important role in the life of society. The next stage in the development of museology as a humanitarian science is its approbation in the course of solving scientific and practical tasks facing a museum employee.

Keywords: idealistic approach, functions of museology, methodology of museology, the purpose of museology, the subject of museology, object of museology, museology, humanities, worldview, museum communication

Abstract: The article deals with the professional decorative and applied art of Krasnoyarsk from the 50s of the twentieth century to the present. The aspect of consideration is the use of the ethnographic motif of the Krasnoyarsk Territory and the features of its embodiment in the products of Krasnoyarsk artists of decorative and applied art. Using the example of the creativity of N.V. Kasatkina, A.G. Tkachev, A.S. Moskvitin, A.S. Migas, S.E. Anufriev and E.A. Krasnova, the aspects of the use of the ethnographic motif and their transformation over time, which led to the formation of archeoart in modern decorative and applied art and the features of its embodiment in the works of the main conclusions of the study are shown. The principles of the use, functioning and transformation of signs of an ethnographic motif in works of decorative and applied art in the Krasnoyarsk Territory are presented. The process of forming a new style in art took place from quoting and simple stylization of individual objects of ethnography in the works of artists to the gradual increase of signs of an ethnographic motif in the works of masters, which led to the formation of a new understanding of the region in art. The main visual concept of modern archeoart is the representation of Yenisei Siberia as the "cradle of humanity". The ethnographic motif associated with the history and mythology of indigenous peoples becomes the starting point in the artistic image, through which the elevation of regional visual signs to symbols understandable to every person takes place.

Keywords: Migas, Tkachev, Anufrief, ethnography, education, archeoart, ceramics, Krasnoyarsk, motive, art