Abstract: The article is based on the analysis and summary of the design process of the work of the Chinese author "Stone. Inversion. Vessel". It examines three key aspects of the development of environmental design. Firstly, it is a combination of modern technologies with aesthetic representations of traditional Chinese culture. Through the study of the project, it is demonstrated how traditional Chinese art can be combined with modern technologies when creating a design object. Secondly, the project highlights the features of the development of design in the modern era. It is characterized by problems of volatility, uncertainty, complexity and ambiguity, which can be mitigated through interdisciplinary integration with the use of the latest technologies. Environmental design, thanks to the multifaceted concept of "environment", meets the conditions of development of the modern era. Thirdly, the article focuses on the fact that the communication of the subjects of the creative process is based on the images embodied in a specific project. Environmental design as an interdisciplinary field is based on the methods of different scientific fields, since the environment that changes under the influence of human activity is not the same. In the proposed article, the author uses the art criticism method when describing blue-and-green landscape painting, and also assigns a large role to the communicative method of sociology developed by the American scientist Harold Dwight Lasswell. The novelty of the research lies in the fact that the author was able to show the possibility of a harmonious combination of modern 3D modeling technologies with the traditional Chinese art of blue-and-green landscape painting (青绿山水 qīng lǜ shān shuǐ). In other words, a planar image turns into a design object, with the help of which can be realized various spatial combinations. Through artistic thinking, one can enjoy not only the functional, but also the aesthetic possibilities of the design object. So, in the described project, the author focuses on the imagination of the observer, forcing him to climb a mountain peak, but inside the building. This is how communication takes place between the author, the "viewer" and the project itself. The image is the basis of communication between various objects of the environment involved in the design process. The creative process combines the material (functional) and spiritual (image-induced) needs of a person. Environmental design, through the synthesis of spiritual and material, establishing communication between design objects and integrating disciplines through the prism of an image, explores how design affects human activity.

Keywords: Communication, Short film, Exhibition, 3D modeling, Shan shui, China, Traditional art, Modern technologies, Environmental design, Image

Abstract: The article analyzes the phenomenon of an innovative city from a cultural and philosophical perspective. The paper substantiates the characteristic features of an innovative city, namely: the tendency to move forward, dissatisfaction with the existing existence, the development of the category of opportunity from the point of view of assessing the innovative prospects of the city. The concept of "innovative city" in this study was compared with similar concepts of "ideal city", "city of the future", "fast city", "creative city". The distinction was made regarding the substantive, operational and dynamic aspects of the innovative potential of cities. In particular, for the concepts of "ideal city" and "city of the future", the most important is the substantive side of the innovation process, embodied in the ideal image of the city; while for the "fast city" the potential of innovation is associated with the idea of movement, trend, speed and multi-vector flow of change.  The theoretical and methodological basis of the study is a phenomenological approach that substantiates the city as a semantic space-time construct with innovative development potential. The authors consider the substantive, operational and dynamic aspects of the concept of "innovation" in relation to urban transformation projects. Special attention is paid to the phenomenological aspects of the generation, implementation and translation of innovations to determine the strong semantic dominants of the "creative city", "fast city", "ideal city", "city of the future", innovative city as a whole. Analyzing the models of urban development, the difficulties of innovative programs related to the problem of determining the specific results of transformations, the lack of processality as such, inconsistency, utopianism, the predominance of the effect of the significance of mega-events over the practical results of innovation are emphasized. The methods of neutralizing the negative consequences of innovative strategies by maintaining a wide range of semantic alternatives that identify strong semantic dominants of the city; controlling the speed of changes that allow to "remove" the conflict between the anthropological and innovative dimension of the city; overcoming the ratio of innovativeness and trendiness, in favor of building the city's own unique imagery.

Keywords: The city of the future, fast city, The perfect city, an innovative city, city, Innovation, slow city, a traditional city, creative city, meaning

Abstract: This study analyzes the mechanisms of generation and subsequent dissemination in the social space of modern society of emotions that accompany those individual acts of acquiring goods and services, which, in turn, themselves become the object of constant manipulation by the marketing services of the sellers of these products. Particular attention is paid to the philosophical, cultural and psychological features of the implementation of specific mechanisms for manipulating individual motivation, perception, consciousness of a potential consumer. In addition, the conclusions of the study analyze the special role of emotional accompaniment of a buyer who has committed an act of acquiring something, which allows you to effectively implement established marketing strategies and techniques throughout the entire society of mass consumption, by organizing control over the targeted dissemination of information about emotional states that arise in the process of consumption at the individual level. Manipulation of the motivation, perception and consciousness of the buyer occurs mainly through emotions. In order for the manipulation process to be effective, motivation and rationalization of consumer behavior must be generated in society massively and on an ongoing basis. An experienced manipulator has the skills to read the emotions of the buyer, based on the assessment of which, then he purposefully creates the illusion of a common interest, preferences, lifestyle for the buyer. The manipulator knows that it is not so much the product itself that is being bought, as the ritual of its acquisition entirely together with the entire palette of emotions inherent in it.

Keywords: emotionalization of social space, emotional marketing, emotional capitalism, emotions, manipulation, emotional work, society of impressions, consumer culture, mass consciousness, everyday worldview

Abstract: As a traditional clothing symbol that is unique to the Chinese nation, the dragon symbol combines the distinctive features of the Chinese nation, reflecting the depth of mental changes and the historical context of Chinese culture. The image of the dragon has formed a kind of dragon pattern as a certain set of ideas about the culture that encoded all its changes. Therefore, in national clothing the dragon image has been one of the most favorite patterns for thousands of years. With the interweaving of world cultures and the deepening of the concept of clothing design, the dragon pattern will incorporate fresh elements of Western culture while maintaining the essence of traditional Chinese culture, and show a new design image through the utilization of various innovative ideas and design methods. The following methods were used for the study: literature review, field research, analysis of design cases, analysis of fashion trends. Using these methods, the specifics of using dragon designs in the fashion industry in different seasons and years are analyzed, and the trend of their evolution in the field of high fashion is studied. In the article we analyzed modern trends of clothing design and gave their characteristics. The results of the study showed that even in modern youth fashion this national symbol is actively used, which indicates that the patterns and images of the dragon have real applicability and wide prospects of application in modern fashion design. Modern clothing design provides a rich cultural heritage for modern clothing to retain the characteristics of civilization on the basis of continuous innovation. The use of dragon motifs in modern clothing not only meets the aesthetic concepts of modern people, but also adds vitality to clothing design.

Keywords: accessories, clothing design, fashion, modern design, cultural heritage, Chinese traditional culture, dragon pattern, dragon drawing, dragon image, dragon symbol

Abstract: The object of the study is the continuous preservation of the multi-genre Cossack folk song, which represents a key purpose in the implementation of the preservation of the traditional mentality at the present stage. The subject of this work is the immanent complexes of traditional song culture in the folklore heritage. The purpose of this study is to structure the issue of the cultural interrelation of the ethnic canvas of the Kuban Cossack folk songs, in the originality of the genesis of the vocal and performing specifics of modern creativity. When discovering the fundamental foundations of the vocal performance of the Cossack song, special attention is paid to the study of the folklore primary sources of the Kuban folklorists, V.G.Zakharchenko, A.D.Bigdai, G.M.Kontsevich. Along with this, an expert assessment of the characteristics of the Kuban Cossack folk song according to the genre classification component is an important feature of the performance of vocal samples today. The theoretical basis is in an analytical approach to the peculiarities of the performance of a local source from the point of view of substantiating the scientific nature of the subject under consideration according to the functionally oriented elements of the report: traditions, traditional manner of performance, interpretation of the text, song melody. Methodological basis: components of the study of the local singing tradition, modernization of folklore song documents, the method of consistency-the genre diversity of Cossack performance. The author's approach to the correlation of musical sources as methodological characteristics of the Kuban Cossack singing traditions has been developed. We test the proposed system when working with archival documents, in the diagnosis of song samples recorded from informants. The key aspect is the musicological analysis of the musical collections of Kuban Cossack folk songs from the point of view of the continuously developing, multifaceted changing performing skills of the soloist and choir. The author takes into account the introduced model of performing Cossack songs since the resettlement of the Black Sea Cossacks, who brought the baggage of multi-genre sources and eventually introduced the Kuban folk singing art. The scientific novelty of the research lies in the author's analytical systematization of authentic song compositions recorded by folklorists, in the analysis of multi-genre Kuban Cossack sources (selectively) for further active performance on stage. The specific directions of performance according to characteristic song genres are determined: historical, military, everyday, marching, lyrical, wedding, ceremonial, round dance, comic. The reproduced orientation of the nature of the continuous preservation of folklore sources in the revised performance interpretation of Cossack vocal works gives rise to significant broadcasting opportunities today.

Keywords: traditions, vocal heritage, systematization methods, singer, broadcast, cossack, source transformation, performing arts, song, folk

Abstract: The analysis of the play "The Seagull" undertaken in the article is based on an unusual assumption. Chekhov's phrase is known that "after writing a story, you should cross out its beginning and end." What if we apply this "formula" to the dramatic works of Anton Pavlovich and assume that when finishing the plays, Chekhov "left out some part of the text"? The analysis of the "Seagull" is performed directly by the classic tool of directors – the method of effective analysis. The work involved a wide range of facts about the social and everyday realities of the Russian Empire of the late XIX - early XX century. The choice of the play "The Seagull" is due to two reasons. Firstly, it is one of Chekhov's most famous and popular dramas. Interest in it has not waned for many decades, neither the audience nor the directors. Secondly, it is believed that the "Seagull" is read inside and out, and working with it is a challenge for the researcher. The analysis of "The Seagull" allows us to state that Chekhov's formula about "crossing out the beginning and the end" of the story is also applicable to his plays. Moreover, this "crossing out" is made taking into account the principles of classical drama. As a result, the reader is faced with the fact that the "Seagull" can be read in at least two – almost opposite in meaning – ways. The results obtained during the analysis, firstly, give grounds to assume that the case of the "Seagull" is not an isolated one, and Chekhov resorted to similar techniques in his other dramas. Secondly, to conclude that the "dramatic mechanism" of The Seagull is not just an attribute of the author's voice, but actually the path of evolution of classical drama proposed by Chekhov.

Keywords: Knebel, Polamishev, drama theory, the evolution of drama, method of effective analysis, dramaturgy, The Seagull, Chekhov, Stanislavsky, Peter Sondi

Abstract: The development of the vital potential of the drama theater is in a continuous search for new forms of expression. Today, in an attempt to establish itself on the territory of a multicultural environment, as well as in an attempt to gain a unique method of communication with society, the theater as an art sphere expands the boundaries of its purpose. Going beyond the stage space turns out to be an important subject of research from the point of view of the search for the artistic existence of the theater in the conditions of digital reality. This article discusses the issue of finding a place for a drama theater in a digital environment where the energy of human relations is significantly minimized and manifests itself in a specifically different way. The subject of the research for the author was the cultural and creative activity of the Tovstonogov BDT.      The St. Petersburg Bolshoi Drama Theater does not need recommendations: it has a great history in the twentieth century, an attractive stage "today" for the audience and, undoubtedly, interesting prospects. In the practice of BDT under the leadership of Andrei the Mighty (2013-2023), there are such turns of dramatic action that are not directly connected with the stage and are almost out of place for the "repertory" theater. The phenomenon of the theater, as if removed from its ancestral roots, leaving the walls breathing tradition, is considered in the article as an experience of cultural and theatrical "exit" to the "stage" of digital reality. Among such experiments, the most significant are the social action "Help the doctors", as well as the experiments of "Minecraft" performances. In addition to the usual comparative historical method for art studies, others will be used, first of all, the formal method, which distinguishes the St. Petersburg school of theater studies. Scientific novelty is determined by the subject of research itself: BDT is considered as a phenomenon of a multi-genre cultural space, in which, as before, a special place is rightfully given to the actor, his role, as well as to the viewer who finds himself in the conditions of a new socio-cultural picture of the world.

Keywords: Alisa Freindlich, actor role, dramatic action, performativity, BDT digital, Digital theater, Art space, Andrey Moguchy, Bolshoi Drama Theater, virtual theater

Abstract: The subject of this research is the immersive artistic environments that exist in the modern cultural space. Immersive technologies are used today in educational processes, historical reconstruction, various forms of socialization, in visual arts; immersion is implemented as a special scientific approach in anthropological, ethnographic, art history studies. Interactivity and immersiveness are considered here as complex predictable processes whose algorithms are embedded in the very basis of an artistic work or cultural environment. They make it possible to intensify the entire spectrum of sensory-emotional perception, creating not only a new type of artwork, but also a new type of recipient immersed in the process of unfolding an artistic plot. The classification of functions of immersive spaces is proposed in the study. On the example of Russian and foreign art projects, the essential signs and features of immersive art are analyzed and identified. Immersive projects implemented in recent years are considered on the example of the cultural field of the north-west of Russia, as well as a comparative analysis of foreign and domestic events is carried out. The study concluded that immersive environments have both positive and negative potential: a complex effect on human feelings using special technological techniques that affect perception can lead to both the effect of complete immersion and catharsis, and to destructive hyperstimulation of the psyche. And the artistic immersions themselves are more a form of media communication than finished works.

Keywords: virtual reality, media communication, contemporary art, immersive theater, immersive exhibitions, historical reconstruction, interactivity, immersion, immersive art, modern culture

Abstract: The article is devoted to the actual problem of historically grounded performance of Baroque vocal music by academic vocalists. Listening activity, the demand for ancient music in Russia raises issues for performers that need to be resolved within the framework of historical performance practice. To fulfill all the conditions, it becomes important to receive an appropriate specialized education. In Russia, little attention is paid to the professional training of academic vocalists in the field of historical singing or baroque singing, whereas in Italy and Germany independent faculties of ancient music are intensively working, including, along with instrumentalists, the training of singers. The author reveals the features of the content and organization of the educational process in universities in Germany and Russia. The purpose of this article is to identify possible ways to form a solo academic singer of historical specialization. The methodological basis of the work consists of historical, analytical methods that reveal the topic from various angles. Using the example of a number of educational institutions that train specialists in the field of historical singing, such as the University of the Arts Bremen, the University of Music and Theatre “Felix Mendelssohn Bartholdy” Leipzig, the Cologne University of Music and the Nuremberg University of Music, the article presents a comparative analysis of curricula, examines the studied disciplines within various modules. The conclusion is made about the prospects of using the experience of foreign countries in the training of specialists in the field of baroque singing.

Keywords: domestic vocalist education, German music universities, curricula, master's music programs, study programs, vocalist training, historical singing, baroque singing, ancient music, historical performance practice

Abstract: The current situation in the manufacture and positioning of clay toys in Russia — a country with rich traditions of the existence of large and small crafts of this kind — is ambiguous, but has positive dynamics. The appeal to the activities of individual toy makers, both amateur and professional artists, provides the basis for understanding the current state of the craft. Of interest is the analysis of the search by craftsmen from different parts of the country for new artistic solutions both in terms of the shape of products and their decoration, in conditions of following the principles of craftsmen of the past. Currently, there is a surge of interest in clay toys in the works of modern masters from Russian researchers. However, a comprehensive study of its existence in various villages and cities of Russia has not been conducted. This determines the need to establish "hotbeds" of craft development, identify the most prominent representatives, establish links between modern creative activity and the traditions of the past, as well as identify new things that artists offer in their activities. The study also includes those crafts that have emerged recently and are not the result of continuity, but have a rather distinctive form and use elements of the artistic language of other crafts.

Keywords: ceramics, artistic tradition, samara toy, kargopol toy, author's toy, specificity, contemporary art, Russia, clay toy, folk art

Abstract: The article discusses the features of the development of Chinese primitive porcelain (proto-porcelain). The purpose of the article is to reveal the periodization of the development of Chinese porcelain in the early stages of its history and the influence of proto-porcelain on the so-called "mature" porcelain of later periods. Primitive porcelain, which is the transitional stage from earthenware to real porcelain, dates back to the era between the Shang Dynasty and the Eastern Han Dynasty. The study was conducted using historical and comparative methods, as well as the method of formal stylistic analysis. It was important to determine the characteristics of primitive porcelain and to reveal its role in the development of the global art of folklore production. The scientific novelty of the study lies in the fact that it not only reveals the time frame for the production of primitive porcelain in China and determines its technological and chemical properties, but also points out the influence factors of primitive porcelain on the historical development of Chinese and world porcelain. It was revealed that the origin of primitive porcelain dates back to the 16th-11th centuries BC, its development took place in the XI-II centuries BC, and the end of the era of primitive porcelain refers to the II-III centuries BC. Primitive porcelain has evolved over nearly two millennia. Having reached its peak, the technology of its manufacture provided the technological basis for the creation of "mature" porcelain. The conclusion is made about the significant influence that primitive porcelain had on Chinese, and through it – on world porcelain, largely determining the formation of this significant phenomenon of material culture.

Keywords: Han dynasty, Shang Dynasty, China, chemical composition, firing, ceramics, protofarfor, porcelain, pottery, clay

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

Abstract:   The processes taking place in modern science tend to integrate various scientific disciplines in studying any scientific phenomenon. This explains the search of methodology based on the techniques of different sciences involved in formation of the subject of research, which in this article is represented by the digital music art. Interpreted as a branch of music art with digital specificity, digital music art incorporates electronic music presented by specific, algorithmic, and electronic music. A signature characteristic of digital music art consists in its interdisciplinarity, which suggests the combined effect of separate parts of the system and leads to self-organization, which corresponds with the scientific tasks of synergetics. This substantiates the relevance for elaboration of interdisciplinary methodology for studying digital music art in the context of research mechanisms developed within synergetics. The scientific lies in the analysis of digital art through the prism of the qualities inherent to synergetics. The disciplines united by digital art (mathematics, set theory, probability theory, information theory, combinatorics, game theory, cybernetics, computer science, acoustics, sociology, communication, and biology) are interdisciplinary, which means that in ensemble with other disciplines they form a complex interdisciplinary knowledge of structure of digital music art. At the same time, the disciplines that comprise scientific framework of digital music art are attributed to different sciences: humanities, natural sciences, mathematics, social sciences, and technical sciences. In this context, the research of digital music art is simultaneously of interdisciplinary and multiscientific nature. The author established a peculiar impact of interdisciplinarity upon digital art, which generates the qualities inherent to synergetics – nonlinearity, disequilibrium, openness, chaotic nature, entropy, indeterminacy, and dissipation.  

Keywords: interdisciplinary, synergetics, contemporary art, musique concrète, algorithmic composition, electronic music, digital music art, multi-scientific, Humanities, information theory

Abstract: The object of this research is the wordless novel – a genre at the confluence of literature and fine art that appeared in Europe in the late 1910s. Most of the time, the author of the narrative in wordless novel is the artist himself, and the compositions has no verbally foundation. Verbal function is performed by a visual component. The visual component is  illustrative, but independent and performs verbal functions. Frans Masereel – the founder of the genre and originator of the term, and Lynd Ward – the artist who contributed to proliferation of the genre in the United States, are two most prominent figures with in the genre of wordless novel. For other artists it was more of an experiment, therefore namely the works of Masereel and Ward were selected for this analysis. The main conclusions are associated with the peculiarities of literary language of wordless novels, the specificity of which is substantiated by the need to solve the tasks of the opposite in its essence verbal language, without having any suitable tools. Images in the wordless novels are narrative, and exist to the fullest only within the framework of the series. Moreover, these images are processed through experience of the text. Although the very idea of the genre consists in carrying out narrative without using words, it does not distort the verbal component. It is rather being transformed, shifting to inner layers of the image, and acquiring an implicit character. The article analyzes the key visual tools used by the artists in creation of wordless novels.

Keywords: Frans Masereel, art of XXth century, novel in woodcuts, pictorial narrative, graphic, wordless novel, Lynd Ward, graphic novel, woodcut, graphic art of XXth century

Abstract: The subject of this research is the sociocultural aspect of studying professionalization of labor in management system. Emphasis is made on viewing professionalization of labor not as an economic phenomenon that testifies, for example, to the efficiency of exercising of certain labor functions, but rather a sociocultural phenomenon. In this case, professionalization implies the cultivation of values and norms that ensure the development of professional culture in management system. The article also analyzes the correlation between the concepts of “professionalization”, “professionalism” and “professional culture”. The choice of research methodology is substantiated from the standpoint of studying simultaneously several key objects: sociocultural aspect of the problem, professionalization of labor, and management system. Therefore, the interdisciplinary methodological approach is recognizes as most relevant. The following conclusions were made: 1) professionalization of labor in management system should be viewed in sociocultural aspect; 2) interdisciplinary approach is most suitable for studying the problem of professionalization of labor from the perspective of sociocultural level; 3) cultivation of values and norms is the crucial characteristics with regards to professionalization of labor in management system.

Keywords: interdisciplinary approach, philosophy, value system, work, professional culture, management system, value, sociocultural aspect, society, values and norms

Abstract: The second half of the XVIII century is characterizes by the appearance of first treatises on mastering playing the harp; each of them contained information on the elements of music texture and techniques of playing the harp, as well as had individual peculiarities. Thus, the subject of this analysis became the evolution of the harp performance in the context of characteristics of instrument’s structure, aesthetic ideals and methodological trends of the harpists in the XVIII century. The goal lies in the need for theoretical interpretation of the role of harp pedagogy of the XVIII century in establishment of artistic performance. Methodology includes the interdisciplinary approach that allows attracting scientific theories and concepts from other fields of knowledge, such as philosophy, art history, culturology, psychology; historical-culturological for determination of factors contributing to alignment of the European culture with other cultures; system approach aimed at studying professional artistic performance as a result of the development of harp pedagogy of the XVIII century. The scientific novelty consists in complementing the knowledge, systematization of new information of the professional artistic performance as a result of the development of pedagogy of the XVIII century. The author underlines the need for further examination of the evolution of technical elements of harp performance in the historical context and the future. It is noteworthy to reveal the origins and peculiarities of establishment of different national harp schools.

Keywords: performers, art, treatise, professionalization, music, education, pedagogy, Harp, repertoire, XVIII century

Abstract: This article examines the phenomenon of tradition in interpretation of the socio-philosophical vector of thought that carries non-academic character and in the scientific literature is attributed as integral traditionalism. The author refers to the fundamental positions of the aforementioned concept that form the conceptual image of tradition within the discourse of the traditionalists, emphasizes the transcendent aspect in this phenomenon, and indicates the proclivity for the original spiritual reality embodied in the authentic tradition. The goal of this work is to describe the potential contained in the integral traditionalism for formulation of the universal definition of tradition. Using the logical-analytical approach alongside the methods of comparative analysis, the author determines the fundamental causes that substantiate the antagonism of the modern world by the successors of integral traditionalism. It is concluded that the attempts to reveal the essence of tradition within the framework of ideological and esoteric context piercing the integral traditionalism are untenable; and the attempts to determine its gnoseological value – intractable. The formulated conclusions allow pointing at the difficulty of using the fundamental positions of the integral traditionalism for the objective-scientific interpretation and definition of the phenomenon of tradition.

Keywords: transcendental, initiation, modernity, metaphysical, esotericism, ideology, Guenon, traditionalism, tradition, regression

Abstract: The analysis of ethnocultures of polyethnic regions is especially relevant in terms of global unification and technologization of culture. Social conditions are characterized by the rapid change of decorations, which is a trial for the traditional ethnocultures. The article makes an attempt of cultural-philosophical contemplation of the basic constructs of Dagestan ethnoculture, named by the author as ethnocultural archetypes. A ethnocultural archetype implies the morphogenic element of the culture of ethnos that is responsible for the specificity of religious life, world perception, self-determination of an individual and his attitude to other members of the ethnos. The application of mythological material for finding the profound imaged leans on the comparative methods that allowed identifying the most specific shades. The introduction of such term as the ethnocultural archetype of Gorz gives a general outlook upon the disparate studies on the tradition, symbolics and art, as well as suggests a possibility of systemic view, in terms of which ethnoculture correlates with the in-depth factor of the cultural unconscious. Archetype manifests as a generalizing factor, as well as an instrument of systemic analysis.

Keywords: narts, epic, mythology, archetype, Caucasus, highlander, Dagestan, ethnoculture, hero, warrior

Abstract: Sport is viewed as a form of active and respectable leisure that became popular in Russia in the late XIX – early XX centuries among the upper classes. The article analyzes the reasons, which led Russia towards shifting from the Greek-Byzantine model of leisure to Western European, bringing the examples of fiction writings that reflect the genesis and evolution of sport, enthusiasm of the representatives of nobility for such types of sports and physical activity, as billiard, lawn tennis, cricket, fencing, gymnastics, horse racing, equestrian sports, ice skating, and cycling. Methodology of systemic and axiological approaches used in the research, substantiates the inclusion of examples illustrating the phenomenon of sport in the Russian classics. The analysis of oeuvres by L. N. Tolstoy, A. P. Chekhov, I. A. Bunin, V. V. Nabokov allows concluding that in multiple noble families, the organization of active leisure, physical education, demands in sports activity and healthy lifestyle, were of great importance; thus, the enthusiasm for sports has gradually become the component of everyday culture of the representatives of upper classes.

Keywords: gymnastics, lawn tennis, nobility, artwork, text, literature, culture, sports, leisure, billiards

Abstract: The object of this research is the compositional methods of Belgian composer Henri Pousseur, who pursued the aleatoric principle in music. Over the period of 1960’s – 1970’s, such principle was extensively applied by the composers of North America and Europe. Americans from J. Cage's circle referred to the unlimited aleatoric music, including improvisation of the graphic and verbal scores, while their European colleagues preferred the limited aleatoric music. Pousseur also turned to the limited aleatoric composition in performing process, which substantiated the diverse degree of the fluidity of form – from mobile, when the score remains unchanged, but its spate parameters vary, to the modular, in which the order of parts is unpredicted, and thus, the process of evolution of the musical thought. The author gives attention to the most notable oeuvres of H. Pousseur in aleatoric writing technique, as well as how the compositions are executed and formed. The plays by Pousseur are subject to analysis from the multiple perspectives: sound material, its properties, structure, dramaturgical process, which allows formulating an integral concept of a composition. The scientific novelty consists in the fact that the aleatoric writing technique of H. Pousseur is being explored in the Russian language for the first time on the example of specific compositions, considering the author’s commentaries that have also been translated from French. Special contribution of the author into the national musicology consists in studying the individual "method of windows" of Pousseur, which prior to that was barely mentioned in the literature, as well as the analysis of forming of such opuses as "Characters I" and "Mobile".

Keywords: improvisation, method of windows, mobile form, composition, Pousseur, coincidence, aleatoric composition, music, creativity, performance

Abstract: The subject of this article the problem of correlation and demarcation between the two key notions of sociocultural discourse – the “culture” and “tradition”. Pluralism of the use of such universal terms for denoting the complex of reconstructed sociocultural content lead to a situation when it becomes difficult to demarcate them. Thus, for example, the “Christian tradition” and “Christian culture” are similar terms in many ways by expressing the assemblage of Christian social relations, as well as material and immaterial products of activity of the Christians. The problem is aggravated by an extensive history of the diverse use of both notions, which substantiates the necessity in their phenomenological analysis, separate from multiple contradictory variations of the definitions. On the other side, for identification of the problem of the immense amount of individual manifestations of both phenomena – culture and tradition, it is essential to combine the phenomenological approach with structuralistic holism, which allows speaking of culture and tradition apart of their particular manifestations. For overcoming the established pluralism in order to demarcate the notions, but preserve their content, the author uses the method that unites phenomenology and structuralism, meaning the phenomenological reductions and orientation towards holism – dominance of common over private. A hypothesis is advanced that culture is viewed as a “universe of sociality” – a system that includes the results of activity, perceptions, and relations, where the tradition is a dynamic structure of culture, or its function of self-reproduction. Tradition consists in the passed down through the generations structural relation between the elements of culture and its variable actualization that depends on the interpretation of the transmitted content. Besides the theoretical prospect, the hypothesis provided methodological tool for studying of the cultural elements with respect to traditionalism through analyzing their structural relation and actualization that allows demarcating the traditional and speculative elements of culture. 

Keywords: Subjectivism of tradition, Objectivism of tradition, Structural-phenomenological method, Post-traditionalism, Traditionalism, Actualization of tradition, Core of tradition, Dynamic structure of culture, Tradition, Culture

Abstract: This article examines the philosophical questions of cognition associated with the clarification of essential aspects of the origins of cultural traditions and their ontological foundation. This marks a turn in studying the traditions from separate descriptions and listings towards determination of their concept. The problems of interpretation of the traditions manifest in examination of the philosophical tradition. Problematization of understanding of the tradition and its essential origin is possible in the context of establishment of their conceptual unity. This approach can be achieved namely by the virtue of philosophical analysis. The historical and cultural traditions form the world of human existence, and their diverse interpretations define the level of humanity in the society. The topic of traditions is presented in three components: the origin, historical realization, and products of its disintegration. As an example, the author uses various traditions of interpretation of history. It is demonstrated that the authenticity of one or another classification is defined by a circle of the claimed initial conditions, such tasks and interests that are resolved or realized namely in the highlighted by the author context.

Keywords: classification of history, routine derivatives, problematisation, concept, categorical definitions, source, tradition, unity, semantic completeness, initial conditions

Abstract: The main goal of this article consists in examination of the place and role of ontological prospects of transcendence and transgression within the philosophical discourse. Special attention is given to the specificity of philosophical language. The article traces the modification of character of the philosophical terminology due to the dominance of the prospect of transcendence or transgression. It is demonstrated that both ontological prospects of transcendence and transgression within the space of philosophical discourse neutralize the private, regional discourses in their claim towards the exhaustive definition of the meaning of existence. The main result of the conducted research lies in determination of ontological status of the prospects of transcendence and transgression within the philosophical discourse. Transcendence suggest exceeding the limits of the subject certainty of the language and continuation towards something that does not have positive certainty. Transgression reveals the flexibility and openness of the boundaries of any existential-conceptual certainty.

Keywords: Hegel, philosophy, border, ontology, perspective, transgression, transcendence, discourse, Nietzsche, neutralization

Abstract: This article attempts to examine the impact of the religious and cultural traditions of China upon the development of ritual dance, which is popular not only among the Chinese population, but also Russian-speaking diaspora of China and residents of the bordering Russian regions. The dance remains to be in epicenter of China’s cultural life, connecting its modernity with the deep antiquity. Due to the fact that religion and cultural traditions are the foundation for understanding the general philosophy and regularities of development of the entire Chinese culture, the object of this research is the impact of the religious and cultural traditions upon the development of ritual dance in China. During the course of this research the authors set the following tasks: determine the specific features and peculiarities of the dance in various religious traditions of China; examine the dialectics of the dance culture; detect the typical features and peculiarities of the ritual-cult and functional dance; as well as analyze the usual and unusual of the ritual dance in the context of China’s religious and cultural traditions. The conclusion is made that the constant fusion and borrowing does not allow clearly demarcate, which of the dance phenomena belongs to one or another ethnic group. The authors also note that none of the religious directions that replaced each other in China, did not scratch the dance out of system of interaction between human and religion. Originated in Shamanism symbols and ritual action along with the mythological component of the religious life of society, established in Taoism and Buddhism, were harmoniously intertwined into the dance culture of the Chinese people. While the ethnical views of Confucianism that became the foundation of the government system, are the basic platform of dance art of Chine in general.   

Keywords: Buddhism, Shamanism, Custom, Ritual, Dance, Tradition, Views, Religion, People, Chinese culture

Abstract: This article is determined to give a universal definition of “semantic poetry” as a philosophical-cultural phenomenon of the XX century and as a “cumulative center” of neo-Acmeist paradigm, trace its conceptually oriented towards the Antiquity origin, dialogues of Socrates and Plato, peculiarities of the chronotope, creative evolution and boundaries, which in turn means classification of methodology and principles of its artistic-historical reconstruction. Thus, this research is an attempt to build a philosophical-cultural paradigm of neo-Acmeism, as well as certain universal methodology of hermeneutic analysis of poetry (W. Dilthey)in the context of synergetic coexistence of philosophy and philology (literary science). The author makes the appropriate conclusion that in “semantic poetry” of neo-Acmeism there are certain stable ontological constants (individualism, anthropocentrism, rebirth of cultural archetypes and mythologems of the past, universalism of poetic innovations, etc.), in other words, an inner mental “code” which considers individuality of the each separate poet-creator, but at the same time does not allow the philosophical-cultural paradigm to diffuse (Y. M. Lotman), but rather at times combine within its boundaries the completely different creators, giving the paradigm longevity and sustainability throughout the XX-XXI centuries. Such “code” becomes its value-conceptual constant, justifying the succession and uniqueness of its development as an integral research strategy, which allows reconstructing the philosophical-cultural paradigm of neo-Acmeism in the constantly updating historical context over and over.

Keywords: Cultural code, Philosophy of life, Ontological concept, Sense-originating semantics, Metatext, Philosophical-cultural paradigm, Semantic poetry, Mythology, Phenomenology, Neo-Acmeism

Abstract: The object of this research is a spatial archetype of bridge. The subject of this research is the processes of human identification and spatial orientation, which characterize the role of bridges in creating a city image, as well as the correlation between a man and a place in the spatial concept of being. The authors analyze bridges as one of the most remarkable architectural elements that serve as subjects of psychological identification. Another aspect of the revealed topic is the role of bridges in spatial orientation that is functionally necessary and able to deliver a feeling of satisfaction, and rather completeness of the daily experience with existential meanings. The general philosophical methodology of this work is based on M. Heidegger’s principles of existentialism; the architectural methodology is based on the elements of C. Norberg-Schulz’ concept of the “spirit of place” (Genius Loci), K. Lynch’ theory of the urban spatial organization, J. Pallasmaa’s  “architecture of images”, and C. Jencks’ philosophy of modern architecture. One of the results of this research is an extensive substantiation on the exceptional role of bridges in man’s cultivation of the nature and urbanized landscape, as well as in revelation of the quality of place, its compilation and structuring. The authors conclude that bridges always play leading roles in spatial orientation that represents a function of the clarity of city image, the elements of which, according to K. Lynch’s theory, are the ways, limits, centers, landmarks, and districts. The scientific novelty consists in the attempt of combining the philosophical, theoretical-architectural, and linguistic discourses in examination of a spatial archetype of bridges, as well as in their systemic and detailed description from the perspective of the selected methodology.  

Keywords: identification, M. Heidegger, orientation, dwelling space, genius loci, being in the world, Chr. Norberg-Schulz, K. Lynch, city image, bridge

Abstract: The article highlights three types of extreme abstraction: first, in terms of the basic forms of relations traditions and innovations; second, in the plane of man's relationship to the world; thirdly, in axiological aspect. In the foreground are identified and described anti-interactionism, reductionism and dialectical relationship of tradition and innovation; shows the presence of the growth of their interaction, given categorization of traditional and technological cultures.In a second aspect explicated abstraction contemplative, activist and co-evolutionary type of creativity. They come in a generalizing model of man's relationship with the world; dictate the nature of the very broad sense of creative activity. Traditions and traditional culture corresponds to the contemplative type of attitudes toward the world, of fabricated - an innovative form of creativity and activist type of man's relationship to the world. Dialectical relationship corresponds to a co-evolutionary model of man's attitude with the world. A contemplative and activist opposed to creative types, but have the same ontological basis of antagonism as the conflict with the dominant "struggle of opposites." The co-evolution type of creativity dominated "unity of opposites", dialog with the relationship of man and the world.In axiological terms of creativity explicated as the opposite of simulation. They are rooted in the development of reality as opposed to progress and regress. The ascending branch of the being generates creativity, as its internal determinant of ensuring its existence and prolongation; in the context of degradation, there is a degeneration of thought and creativity, creativity is simulated, it is transformed into simulation as a means and function degeneration. They are connected "law of specular": the imitation of social laws are "mirror" of their action on the ascending branch of evolution.

Keywords: unity of opposites, co-evolution, activism (constructivism), , contemplation, reductionism, anti-interactionism, tradition and innovation, creativity, simulation, the law of specular

Abstract: The object of the research is the processes of national identity formation. The research is based on the history of Eastern European Jewish communities of the late XIXth - early XXth centuries. In his research A. Brodsky examines the role of psychological trauma in the process of national identity formation as well as the importance of such psychological factors as exclusion, repression and sublimation. Special attention is given to the processes of assimilation and self-isolation of nations in the course of their cultural development. Those processes were identified by such terms as Haskala, traditionalism, modernism, spiritual and political Zionism in the history of European culture. The author proceeds from the constructivist views on the process of nation's formation which, according to the author, can be completed with some provisions of psychoanalysis. The paper demonstrates that in both individual and national development early psychological trauma results not only in different painful symptoms and complexes, but also is a necessary moment in the development of self-conscience. National self-conscience reacts to traumatic circumstances in the two ways: firstly, through self-denying and desire to assume “a foreign identity”, i. e. assimilation; then if the first step was unsuccessful it comes to self-isolation and regression to its early states. However the stage of assimilation doesn’t go unnoticed and in the course of the following self-isolation process culture uses principles of the construction of meanings, which have been obtained at the stage of self-denial. Both self-denial and self-isolation are neurotic reactions of a nation to traumatic circumstances. However, cultural development is impossible without these reactions.

Keywords: assimilation, Haskalah, Jews, Europe, cultural exclusion, psychology, ideology, nation, self-isolation, psychological trauma

Abstract: The subject of the article is collecting as a socio-cultural phenomenon. The author of the article aims to discover philosophical-anthropological premises for the Western cultural tradition to show individual collectors in a bad light and to speak of them as fanatics, speculators and maniacs. Being an inadequate reflection of the reality, this tradition is encouraged by a number of economic factors defining peculiarities of popular culture. However, initially this tradition is based on Freudian methdology of choice and analysis of cultural phenomena. Implementation of this scheme is viewed as mythologisation and the main systematically important element thereof, the sublimation theory, is qualified as a pseudo-scientific myth. The basic research method used by the author is the critical analysis of historical and philosophical texts and social-phenomenological study of social and cultural phenomena at the empirical and theoretical levels. As part of his historical and philosophical excursus, the author of the article offers to view Sigmund Freud's sublimation theory as viewed by Max Scheler. Rejecting vulgar interpretations of the sublimation theory as 'spiritual alchemistry', Max Scheler still found the rational kernel in Freud's theory. The author of the present article assumes that this is the point of coincidence of the two philosophers which allows to speak of the influence made by Freud on metaphysics of late Scheler. Following the idea of Karl Marx on 'spontaneous activity', the author of the article concludes that collecting is an expression of freedom, active self-realization of human in his leisure time, and a form of active self-fulfiment of personality in a society. To the author's opinion, a collector can be referred to neither Freud's homo libidinosus, nor to Nietzsche's homo politicus, nor to Marx' homo oeconomicus. Just like any other subject of a cultural practice, collector is encouraged by spiritual aspirations and appetences rather than the three basic existential forces named above. These spiritual aspirations and appetences are dictated by values, ideals and cultural standards. They cannot be reduced to none of these forces, neither do they consistute all of them altogether. 

Keywords: naturalistic reductionism, universal explanatory scheme, sublimation, libido, popular (mass) culture, philosophical-anthropological premises, collecting, freedom, human personality, spontaneous activity

Abstract: The research subject of the present article is neo-acmeism as an under-studied philosophical and cultural paradigm of the 20th century, its history and ‘semantic poetics’ as its philosophical ‘core’. Neo-acmeism contains the mental code of Russian culture which within the framework of one literary movement unites poets that may seem absolutely different. In her article Fetisova also views the ‘synchronous reminiscential chronotope’ that creates the ‘polyphonic monologue’ in mythology. The article is first of all based on the procedure of moving along the hermeneutic circle when the whole is studied through analyzing its components and vice versa; the structural-semiotic, comparative methods and the method of historical reconstruction are also being used. Fetisova traces back the history of the creation, development and existence of ne-acmeism in the post-Soviet discourse and the 20th century in general. When developing the research methodology, the author takes into account the contradictory nature of the development and functioning of neo-acmeism in the history. At the modern stage of the development of humanities, literary texts are often analyzed by using philosophical categories and concepts. Philosophical and philological hermeneutics have formed the space for an interpretative discourse of a poetic text. The present article only demonstrates how efficient this synthesis is. The given article is focused on the universal phenomenon of neo-acmeism or so called Russian Renaissance as a philosophical and cultural paradigm. In this regard, the author believes that we can talk not about the acmeism tradition in contemporary poetry but a continuous development of the ‘semantic poetics’ of acmeism and neo-acmeism in creative writings of a number of modern poets. On the one hand, there is neo-acmeism as a poetic movement that could have influenced the future poetry only as a tradition. On the other hand, in today’s Russian reality poetics of neo-acmeism is not a tradition but a continuous development of the functional component of the literary process based on the principles offered by Gumilev and Mandelstam.

Keywords: philosophy, neo-acmeism, anthropocentrism, subjectivism, Russian renaissance, ‘semantic poetics’, philosophical discourse, cultural paradigm, institutionalization of society, ‘Akhmatova myth’.

Abstract: In modern science there is a constantly growing interest towards traditional culture. It is due to the multicultural processes aimed at preservation and development of the cultural diversity and tolerance. Multiculturalism encourages self-expression and positioning of ethnic groups and cultural communities at different levels of social institutionalization. It is cause by the fact that in the age of globalization and IT development, tradition becomes a converging, i.e. communication point with the ethnic history that allows to keep the national and cultural integrity. Traditional culture is viewed from the point of view of cultural research using the research methods offered by philosophy, social studies and history. Interdisciplinary approach allows to combine different methodological procedures in order to expand the scientific knowledge. The system method is the main method used in research because it allows to create an integrated concept of traditions, culture, functions, values and many others. Interdisciplinary studies of peculiarities of traditional culture create a complete picture of the ethnos life in the past and predict its activities in the future because ethnos tends to preserve its own values even under the conditions of multiculturalism. Today’s science places different emphases when studying traditional culture and researchers use different methods in order to prevent cultural unification and protect the cultural diversity and singularity.

Keywords: cultural research, traditional culture, traditions, interdisciplinary approach, system method, science, interest, ethnic groups, heritage, national and cultural integrity.

Abstract: The purpose of this article is to view the communication nature of social management. For this purpose, the author of the article describes different approaches to interpreting the term ‘management’, the latter being viewed from the point of view of general philosophy, information approaches and the classical management theory. The following conclusions were made based on the analysis conducted in the article: 1. As one of the attributes of existence, management appears at all levels of existence from inanimate nature to highly organized biological organisms and social systems. 2. The most important goal of social management is to solve the contradictions between the subject and object of management. 3. All fundamental properties of management at all levels remain when the system is moved to the social level but they take more complicated shape and become to based on new, specific properties of social management. 4. Under conditions of post-industrial information society, it is the convincing communication which comes to the fore among all other methods of social management. It naturally causes a drastic development of communication technologies aimed at a more efficient solution of tasks related to convincing the object of management. The practical relevance of this research is the insight into possible directions of the development of social communication as the mechanism regulating society’s life.

Keywords: philosophy, system, management, object, inter-subjectivity, communication abilities, subjectivity, entropy, principle, theory.

Abstract: The article is devoted to the appearance and development of female and gender researches in our country. Even though it was mostly perceived as the Western scientific trend in early 90th of XX century, Russian gender school actually has its on history, set of methods, concepts and ideas different from anything which has been created abroad. Since they did not have an opportunity to exchange experience with their foreign colleagues, Russian scientists, by trial and error, developed that branch of science based on unique state and private archives, self-biographies, personal correspondence, interviews and etc. They started to study topics that were previously closed not only for research but even for public discussion such as sex, sexuality, sexual violence, homosexuality, erotic, prostitution and etc. Some branches of science were created to satisfy a scientist’s personal interest towards such issues as the role of woman in the world history, history of women, history of femininity and history of masculinity, childhood history, everyday life, private life, female and male style of writing and etc. When the Soviet Union fell apart, female and gender researches started to grow and expand. Russian scientists got access to foreign studies and researches. New laboratories, divisions and sectors ere created to study these issues and the number of feminists jumped up in our country. It was the time when the Russian association of researchers of female history was created. The development of gender school in Russia, its founders, the scope of problems which interested scientists at different stages of their development and scientific publications and works created in this sphere – these are the matters and issues of the article.

Keywords: cultural research, history, historiography, researchers, gender, social studies, female male, feminism.

Abstract: The article describes the definition and place of innovations in management. The author describes the ways of implementation of these innovations in management practice and underlines the importance of this issue at a modern stage of development of the modern society. The article also contains examples from experience of civic organizations.

Keywords: philosophy, innovations, organization, management, production, culture, society, human, perspectives.

Abstract: The article contains a philosophical analysis of the category ‘Universum’ in science, cultural philosophy and mystics of the 20th century. The author of the article pays much attention at determination of general fundamental onto-gnoseological aspects of the Universum. Comparative analysis very well shows that the main general feature of the concerned Universum models is the recognition of communication and noosphere progress as the essential factor of development of the Universum.

Keywords: philosophy, unversum, Universe, cosmos, world, cogitation, existence, communication, noosphere, progress.

Abstract: The article represents the author’s views on the phenomenon of contrast in Russian culture of the 20th century. Culture goes a long and difficult way f rom traditional t o a new c ulture, but it i s e ven more difficult for new forms, phenomena and occurrences to settle down in a cultural space. The main feature of this article is an attempt to see the system in the contrasts of cultural dynamics.

Keywords: philosophy, contrast, culture, historicism, socio-dynamics, system, evolution, conformism, dehumanization, innovations.

Abstract: The article views forms and influence of foreign economic capital asset (human, brain, social, cultural and environmental) on processes of development and modernization. The author proves the importance of these conceptions for regional programs of modernization which adjust national target programs to local conditions. The author also justifies the need in transition to an innovative type of a society.

Keywords: philosophy, modernization, foreign economic capital assets, human capital assets, brain capital, social capital, cultural capital, environmental capital, national program of modernization, regional programs of modernization.

Abstract: The article uncovers the meaning of the Russian advance guard at the beginning of the 20th and its role for Russian culture. Emphasis is made on axiological and conceptual searches of advance guard representatives which helped to reinforce our cultural self-suffi ciency and identity.

Keywords: philosophy, advance guard, culture, ideology, time, space, values, innovations, traditions, modernism

Abstract: In this article the author describes the philosophical and methodological conception of virtuology. Virtuology is a branch of science aimed at complex study of problems of the virtual world. The science has its own philosophy, structure, theoretical and empirical cores and research trends

Keywords: philosophy, virtuo.ogy, physiological virtuology, psychological virtuology, artistic virtuology, computer virtuology, virtual world, virtual technologies, computer virtual reality, computer virtual technologies

Abstract: Today an individual, who understands the ethos of science, becomes more modest and careful. He sees how the categories, that he uses, are temporary and unstable. The philosophical anthropology today cannot be imagined without the support of sciences, especially the human sciences. The human sciences in the broader perspective touch upon the philosophical anthropology. What is the modern methodology of human science thinking?