DOI: 10.7256/2454-0625.2017.5.23182

Abstract: The subject of this research is a regional festival «Day of the Tiger» dedicated to the Amur tiger. The article focuses on the history and the process of the festival. Particular attention is paid to concerns related to the distinct features of the elements, peculiarities in the process and achievements of the festival. Based on the research results it is necessary to note that this festival combines both a traditional Soviet format and modern environmental content. As the part of culture, Day of the Tiger also performs the function of developing social identity as well as recreation and educational functions. The main goal of the festival is to develop a caring attitude to the Amur tiger as the endangered species and responsible attitude to the nature of the Far East. This goal is not only of regional importance, it is gaining the status of government importance, too. The author of the article has used the historical genetic, structural functional, comparative and typological research methods. The historical genetic method has allowed to understand how the festival was originated. The structural functional analysis has allowed to describe elements of the researched object based on typical attributes. The comparative method is used to analyze the mechanisms of Soviet and modern festival (comparison of similiarities and differences). The typologisation method allows to classify visual art depicting tigers. The scientific novelty of the research is caused by the fact that the author tries to define particularities of the modern holiday Day of the Tiger as a sociocultural object as well as to analyze elements of this festival in their relation to the Russian culture. The main conclusions are the following: the format of this festival was taken from the roots of the Soviet culture, but there is no ideological or political connotation; it performs the recreational, educational functions and the function, which forms social identity; a number of events within the holiday allow to consolidate and develop the image of a tiger as a cultural object; its main goal that is to form a positive attitude towards the endangered Amur tiger spreads over the country.

DOI: 10.7256/2454-0625.2017.5.20142

Abstract: As a socio-cultural phenomenon, Old Believers have been attracting attention of many religious activists, politicians, economists, historians, etc. However, the main contribution of the representatives of this  ethno-confessional tradition to the general Russian culture has not been defined yet. According to the author, this historiographical gap can be covered by analyzing various discourses about studying Old Believers. Based on the author, there has been four approaches to studying Old Believers: political, ethnographical, philosophical and scientific. At the turn of the 17th - 18th centuries Symeon of Polotsk, Dimitry of Rostov and others formed the political discourse. The main feature of the political approach is that it first it had a negative nature but then started to attain positive attitudes to Old Believers. With the development of the liberal movement in the 19th century, Old Believers were often perceived as the bearers of true RUssian culture on the one hand (which brought them close to Slavophiles) and fighters against the unfair state government on the other hand (this is the way Old Believers were viewed by Westerners and revolutionists). When the academic community started to study traditions of Old Believers in the 19th century, the ethnographical discourse was formed and later the philosophical discourse developed. Archeographical expiditions played an important role therein. Moreover, in the 20th century Old Believers started to actively participate in the research process themselves. At the present time the academic historiography cannot be imagined without Old Believers and their tradition. In this research Bogdanov provides examples of the influence of Old Believers on the origin or these or those cultural works and development of the scientific and philosophical thought. Appearing at different times, discourses influenced one another and all four discourses exist today, too. According to the author of the article, analysis of various discourses about studying Old Believers will allow to better understand their contribution to the development of Russian culture.

DOI: 10.7256/2454-0625.2017.5.20725

Abstract: This article is devoted to understanding the phenomena of classical music and sound art that are often seen as synonymous. The subject of the author's reflection becomes the legitimacy of such an approach in a post-modern society where certain crises between the composer, the performer and listener. The communicative crisis caused by the gradual intellectualization of musical language in the XX century was partly linked by the spread in the second half of the last century avant-garde practices that are traditionally associated with academic music art. To compare certain definitions of music and sound art in order to find out their principal difference, the author has used comparative and axiological methods. The main conclusions of the article are the following: the basis of a musical work is the intentional-semantic aspect unlike sound art oriented at searching various sound impressions in the first place. Currently, due to the 'decompression values' observed in contemporary culture, it is necessary more clearly define the spheres of influence of these phenomena.

DOI: 10.7256/2454-0625.2017.5.19799

Abstract: The article considers the paintings from the part of the collection of the State Revolution Museum, formed in the 1924 - 1930's, as a holistic art phenomenon and a visual reconstruction of revolutionary era. The author analyzes the paintings from the position of the official power in order to see the inside of a political utopia, by the eyes of its creators, however, without distorting the objective historical circumstances. The researcher's attention focuses on the method of reconstructing the historical era through its art component. The author believes it is necessary to view reconstruction as intentional and the part of the collection under study - in the process of its perception and interpretation, i.e. phenomenologically, but not as a complete artwork. In his research Epishin applies methodological principles and concepts of such approaches as the social philosophical analysis, historical phenomenology, deconstructivism and hermeneutics. As a result of his research, the author makes a conclusion that being a strategic instrument of the Soviet government, the State Revolution Museum developed ideas and values of the cultural, historical, social and political life of the country. Thus, the pat of the paintings collected in the 1924 - 1930s can be reconstructed by a researcher's intent through concretization as an integral art phemoneon representing an identity marker of the government and the 'memory about the government'.

DOI: 10.7256/2454-0625.2017.5.19571

Abstract: The subject of the present research is a visual representation of ethnic (Buryat) masculinity based on the analysis of Solbon Lygdenov's film 'Bulag. The Sacred Spring'. During her descriptive analysis, Dashibalova has discovered visual markers of the masculinity crisis in a modern society as well as construction of various codes of Buryat ethnicity. She has based her description of the rural Buryat community on forming and deconstructing characteristics of identity: boyhood institution, internal rules and autonomy of the male union, moral code of masucline behavior, military service, kindred-community associations, patterns of verbal communication, physical habitus, fatherhood, and decay of family. When analyzing the film 'Bulag', the researcher also describes parameters of Buryat ethnicity through kindred patterns, system of gestures, linguistic space of the film, audio sequence, ethnic anecdotes, religious cults, physical habitus and body practices. During sociological analysis of the film the researcher has used a combination of structural and narrative approaches. Dashibalova has reconstructed the plot, described the frame space and film segments based on David Bordwell's approach. The researcher's description of social characteristics of characters and modern realities of a Russian village is based on actual concepts of theoretical sociology. The main conclusions of the research are as follows: 1) The researcer has defined binary oppositions of male scenarios in a modern Buryat community conveyed in the film 'Bulag' and polar lines of social behavior. On the one pole, there is a standardized pattern of masculinity as a reference to the 'real man' code. The opposite pole of modern masculinity fixes a representation of a deprivation state. 2) The researcher has also discovered the need to develop the phenomenon of ethnic masculinity constructed in works of fiction and film construct. 3) The original film offers the audience to return 'ad fontes' and in this sense, it creates te ethnomobilisation rhetorics. The author's contribution to the research is caused by the fact that she reveals the phenomenon of ethnic masculinity, and its ambivalence in a modern society. The novelty of the research is caused by the fact that the author describes parameters of ethnic (Buryat) masculinity depicted by the means of cinematography.

DOI: 10.7256/2454-0625.2017.5.20833

Abstract: The subject of the research is communication between the life strategy, phenomenal manifestations of will and subjects as the existing in male/female lifeworlds. Admitting the fact of man's and woman's beginnings in each person with one of them prevailing , it is claimed that the male mode of will is a rational will (Kant), and the femail mode is a irrational will (Schopenhauer). In her article Khafizova demonstrates how will, being a source of an intentionality of temporary and spatial structures of consciousness, together with one's gender life strategy places priorities in the influence of these structures on male/female lifeworlds. The main methodology of the description of temporary and spatial structures of existing is the phenomenology of consciousness of Gusserl and Heidegger owing to the fact that a kernel of gender life strategy is this or that form of activity of consciousness. In her article the author develops her approach to understanding gender as a style, the way of realization of the super-goals reflecting this or that strategy of life (gender is the answer to the question 'how' but not 'what'). For the first time based on ancient myths and the psychological facts of daily occurrence philosophical justification is given that the man's vital world is more connected with toposy, and women's - with chronos. Conclusions of the research can be used to describe further preferences and connotations of axioligical space male/female lifeworlds.

DOI: 10.7256/2454-0625.2017.5.19447

Abstract: The object of the research is the souvenir doll and varous kinds of souvenir doll as the product of globalisation and actively developing world and domestic tourism in terms of Russian cultur of the 20th - 21st centuries. Items especially made to be sold to travellers as a memory appeared in the Middle Ages as a result of piligrim's journeys and are now gaining in popularity, new features and functions such as creating memories about a place, event or individual, company's brand or image making through invention of trademark 'trifles' to be presented to clients, partners, etc. Doll has a significant representative potential compared to other crafts. It is also actively used in education, museum studies and other spheres. Therefore, the author of the present article views doll as a special category of souvenirs and studies it based on a wide material collected by St. Petersburg Museum of Dolls. The main research methods used by Vasilieva in her research include: culturological, comparative historical analysis used to desribe the process of developing various kinds of souvenir dolls a well as typological analysis. By using the cultural research approach, the author has described the technological process of creating traditional St. Petersburg souvenir dolls. Moreover, the latter are viewed from the point of view of marketing. The rationale of the research is obvious providing that souvenir production is an understudied phenomenon that has much potential for further development. The academic community does not offer a clear definition of souvenir doll. It is usually either associated with other kinds of human figures or not taken into account at all. The author of the present article pays attention to extraordinary external, historical and functional features of these figurines and offers their classification.

DOI: 10.7256/2454-0625.2017.5.19691

Abstract: The subject of the research is the development path of the symbolic language of a Dutch painter Jan Toorop (1858 - 1928) who was a contemporary of Vincent van Gogh and Gustav Klimt and played an important role in the origin and development of symbolism on the European scene at the end of the 19th - beginning of the 20th centuries. Both today and back in 1890 - 1900s Jan Toorop has been seen as an activist and curator of exhibitions that were very important period in the history, and to a lesser extent he was an artist who became the main figure of the 'Northern' version of symbolism. Having absorbed the Indonesian culture and European traditions of French symbolism and the English school of painting, Jan Toorop declared a new mysticism. Analyzing the painter's personality, his creative path and fundamental artwork, the author of the article describes stylistics of Jan Toorop and his role in developing certain schools of painting. The research is based on the comparative history analysis of Jan Toorop's artwork as well as the biographical method alloing to define directions of searches for cultural self-identification of the painter. The rationale of the present research is based on the fact that inspite the growth of the interest towards Jan Toorop over the last decade, and his personal exhibitions in France and Holland, his steps towards developing a national version of symbolism and his recognition on the European scene as well as his practice of abstract painting and refusal from natural kinds of painting through the linear language. Therefore, the author of the present article tries to describe the main steps of Jan Toorop towards symbolism and his search for the ornamental field of cognition within it.

DOI: 10.7256/2454-0625.2017.5.21360

Abstract: The subject of the present research is the perception of national peculiarities of Spanish paintings in the Spanish literature of the 17th - 18th centuries. In Europe of the 17-18th centuries Spanish painting was understood only as the variant of Italian Painting of Renaissance. The purpose of the article is to analyze whether the national character of Spanish Art was comprehended by national Spanish theorists and historians. While foreigners often knew very little about Spanish Art due to the fact that European collections did not have any paintings by Spanish artists, Spanish people lived surrounded by national art. Did they understand it? In her research Morozova applies historiographic analysis of Spanish treatises on art and comparison of opinions of different authors on Spanish Art in the 17th - 18th centuries. The main conclusion of the research is as follows. There was an understanding of national character of Spanish Art in the texts of various Spanish authors of 17-18th centuries. But at theoretical level for Spanish authors by the end of the 18th century the Italian art of Renaissance remained the standard of artistic perfection.

DOI: 10.7256/2454-0625.2017.5.19539

Abstract: In her research Volodina suggests to develop a conceptual framework that would allow to see artwork and the process of artwork perception in a new light. The subject of the research is paintings by Alexander Arefjev and artists from his circle. Instead of just giving a descriptive characteristic of their paintings, the author tries to use their artwork to think of specific features of the artistic space and subjective perception thereof. Vododina pays special attention to such artistic features as flatness and density of plans which analysis allows to expand the framework of the philosophical definition of 'surface'. The author appeals to the conceptual framework offered by Gilles Deleuze, in particular, she uses his definition of the haptic vision as well as other terms to study a special type of vision demonstrated by the artwork of Ariefjev's circle. The result of the research is the author's description of special physics typical for that kind of space, and conceptualisation of a dynamic, non-identical to itself nomadic subjectivity created in the process of feeling. Thus, it is fair to say that art neither reproduces nor depicts the known but creates conditions for the appearance of something ontologically new in each sensation. Within the framework of this approach, art is viewed extensively as the sphere of extrasubjective affectivity which allows to define mechanics of the meaning-creating process and fulfil the potential of art as an instrument of philosophical immanence.

DOI: 10.7256/2454-0625.2017.5.21204

Abstract: The object of the research is the origin and development of the concept of 'visionary architecture'. The authors of the article analyze prerequisites for that branch of architecture. The authors of the article give certain names of artists and their artwork as well as contests those artists participated in. The authors also describe materials used by architects and students to create artwork for contests. They give a description of semantic particularities and analyze the graphic language and historical role of that phenomenon in terms of the development of the world architecture and education in architecture in particular. The research method is the generalization of the experience in 'visionary architecture' projects that allows to define the main cornerstones in their creation. The scientific novelty of the research is caused by the fact that the authors view visionary architecture as an essential part of the development of architecture back in those times. This branch of art is a natural process in the development of modern architecture in Russia as well as around the world in general. The authors of the article conclude that visionary architecture is not an isolated or temporary or forced phenomenon but continuation and further development of architecture fantasies started by graphics of Giovanni Battista Piranesi, Pieter Bruegel and Yakov Chernikhov.

DOI: 10.7256/2454-0625.2017.5.17505

Abstract: The subject of the research is the creative writing of Yunna Morits defined by the author as the antiglamorous lyrics that presents the opposition between the glamour ideology and glamour myth-making in a critical form. The results of the author's analysis demonstrate the relationship between poetics and metaphysical intellectual-ethical-aesthetical triad that highlights the Here-Existence of the poet and her life position. This proves that the poet had a gift allowing to transform the visibly invisible/invisibly visible into an actual contemporary symbol which was created by the word but acquired the visual aspect. As a result of her creative writing, the poet's Here-Existence attains harmony where the Becoming is born out of creative rethinking and word play of the ar-riving. Yakovleva views the problem in a form of a narrative description using dialectical, interpretative and phenomenological research methods as well as the principle of the intentional analysis which reveals specific features of the poetical phenomenon of Yunna Morits. The novelty of the research is caused by the fact that Yakovleva analyzes Yunna Morits' creative writing in term sof the glamour ideology that prevails in our society now. Conclusions and results of the given research can be used for further studies of Yunna Morits' writings as well as interpretation of literary texts and critical research of today's socio-cultural environment influenced by the glamour ideology and myth-making processes.