Abstract: The article is devoted to the new poetry that entered the Russian musical culture with the Khrushchev "thaw". A special perspective of the study is the "female" chamber vocal cycle of the 1960s and 1970s. The wave of interest of Russian composers in chamber and vocal music that arose during this period is associated with a hitherto unprecedented wealth of poetic themes and images, the emergence of modern literature. Spiritual horizons expanded rapidly, original texts entailed fresh genre and technological solutions. The new poetic "information", as well as scientific information, liberated the creative forces of musicians, demanded a new language, style, form. Poetry turned out to be one of the most important incentives for the renewal of compositional concepts. The main conclusion of the study is the idea that the development of vocal music, the figurative and thematic expansion of "female" chamber vocal cycles is primarily associated with the modern poetic tradition, with the expansion of the spiritual horizons of Soviet cultural life in the second half of the last century. Russian chamber and vocal music is being studied for the first time in such a perspective and this direction must be recognized as fruitful, more fully revealing the most important vectors of the development of the musical and poetic tradition. It is quite obvious that the modern literary preferences of composers became the basis for a radical renewal of the chamber-vocal genre in the 1960s and 1970s.

Keywords: Boris Tishchenko, Dmitry Shostakovich, Marina Tsvetaeva, Anna Akhmatova, Renewal, Vanguard, New Poetry, Domestic music, Alfred Schittke, Vocal cycle

Abstract: The article is devoted to illustrations by V. Yankilevsky for the popular science publication "Knowledge is Power" during its special heyday in the 1960s. The research aims to discover the conceptual and artistic specifics of these works and at the same time to fit them into the broader context of the artist's work, while solving the task of determining their place within the author's world of images. The author paid special attention to the consideration of the main topics with which V. Yankilevsky worked, and the ways of their implementation. In particular, these are such author's conceptual codes as: energy tension, the antithesis of "living-dead", images of breakthrough and infinity. This problem has not yet been covered in the scientific literature, since the focus of attention in it is mainly focused on the painting and easel graphics of the master, while V. Yankilevsky's illustrations remain a marginal phenomenon for discourse. This article will serve as a beginning to fill the gap that has formed. The main result of the conducted research is the discovery of the consonance of the images of the artist's main creative work and the commissioned illustration in the popular science publication "Knowledge is Power", which was possible thanks to the topics raised there that go beyond everyday experience and are weakly amenable to the laws of established censorship. At the same time, significant differences were found: in particular, the absence in the illustrations of the most important problem for easel painting and graphics by V. Yankilevsky of the interaction of male and female archetypes.

Keywords: Yuri Sobolev, popular science periodicals, Soviet underground, unofficial artists, artistic and philosophical system, 1960s art, magazine graphics, Vladimir Yankilevsky, knowledge is power magazine, magazine illustration

Abstract: The subject of the study is the problem of the integrity of the development of national culture and the spiritual continuity of historical epochs, which raises the question of how the same philosophical and ideological concepts pass from one century to another, influencing artists of different generations. The purpose of the work is to study to what extent the ideas and artistic images of F. M. Dostoevsky acted for M. M. Prishvin as a context for comprehending the essence of Soviet reality, as well as his philosophical and ideological assessment of the ideology and policy of the ruling Bolshevik party. The article uses the method of historical reconstruction of the ideological and political context of the life of Soviet society and the state. The method of hermeneutics is used, the application of which directly follows from the specifics of the writers' artistic discourse. The comparative study of texts and worldview views recorded in the diaries of Dostoevsky and Prishvin acts as a kind of hermeneutic circle, i.e. the analysis of the worldview makes it possible to better understand the text, and the text, in turn, makes it possible to clarify the features of the author's conceptual worldview ideas. The novelty of the research lies in the introduction into scientific circulation of new facts from the 18-volume Prishvinsky Diary (1905-1954), published only in the post-Soviet period, hidden for many years, allowing to discover additional facets of the artist's work. The study revealed the main determinants of the evolution of Prishvin's worldview from categorical rejection of the October Revolution and Bolshevism to reconciliation with the Soviet state. The results obtained contribute to the development of Russian studies, allowing us to better understand the patterns of the evolution of the worldview and the features of the writer's artistic world, as well as his place and role in the history of Russian and Soviet culture of the XX century.

Keywords: Prishvin, Dostoevsky, Marxism, Bolshevism, revolution, state, ideology, politics, class struggle, literature

Abstract: The subject of the study is carnival and laughter forms in the traditional life cycle rites of the peoples of the Middle Volga region before 1917. On the basis of archival materials collected by the author and local history literature, a typology of variants of the manifestation of carnival and laughter forms in the ritual practices of the population of the region is carried out for the first time. Based on specific historical examples, the analysis of the selected variants ("noisy performance", "antics", "censure" and "imitation") is carried out. The article uses systematic and culturological approaches that allow to explain the reasons for the stability and semantic content of the rituals, as well as their role in the translation of spiritual and moral values of the inhabitants of the region. The scientific novelty of the research lies in the interpretation of the traditional life cycle rites of the peoples of the Middle Volga region as the focus of carnival and laughter forms that help overcome fears of an unknown future and create an atmosphere of optimism. The main result of the research is a new understanding of the traditional life cycle rites of the peoples of the Middle Volga region as a means of psychotherapy due to their inherent carnival and laughter forms that help a person adapt to various conditions of existence. The material of the article can serve as a basis for scientific research in the field of psychology of ritual activity, for the preparation of educational courses on the history of everyday life and cultural studies.

Keywords: antics, noisy performance, fears, unknown future, laughter world, the peoples of the Middle Volga region, the life cycle rites, carnival and laughter forms, censure, imitation

Abstract: Within the framework of this study, the transformation of anthropomorphic images in Medieval and Renaissance painting is analyzed. The visual art of this period is considered as a specific space of "conversation about man", which existed in parallel with discourses about God-man and Man-god. As a means of communication between man and God, the icon, using anthropomorphism in the image of the archetype, represented to the medieval man a certain path and a guide to his own salvation. Along with individual anthropomorphic and naturalistic features, areal ones were also used in iconography, for example, reverse perspective, halo, "twisting of figures" and a number of others that set the symbolic content of the religious image. В В  According to the author, the transformation of the icon into a painting in the XIII-XIV centuries was associated not only with the technical development of fine art (the widespread use of direct perspective, the use of camera obscura and oil paints), but also with significant changes that occurred in the intellectual space of Europe. The narcissistic turn in Renaissance art, expressed in the dissolution of the boundaries between the human and the divine, the maximum naturalization of religious content, as well as in the development of self-portraits, is, first of all, a turn from the discourse about God-man to the discourse about Man-God. Relying on philosophical sources, two independent positions (Ficino and da Vinci) on the nature of metamorphosis and the place of pictorial images in the description and definition of man are considered.

Keywords: Man-God, God-man, human, metamorphosis, animism, anthropomorphism, picture, icon, visual art, narcissism