DOI: 10.7256/2454-0625.2021.11.36850

Abstract: The object of this research is the historical,-cultural and natural environment of historical settlements of the Russian North. The subject of this research is the traditional dwelling as a factor of formation and transformation of the cultural landscape of Onezhskoye Pomorye. The goal lies in studying the peculiarities of formation and transformation of cultural landscape of the rural settlements Onezhskoye Pomorye based on the material of traditional dwelling. The research relies on the empirical data acquired in the course of expedition of the Scientific Center for Traditional Culture and Museum Practices of the Ural Branch of the Russian Academy of Sciences to Onezhsky District of Arkhangelsk Region (2018–2021);archival sources of A.V. Shchusev State Museum of Architecture (Moscow), experience of exploring the monuments of wooden architecture of the open-air museum “Malye Korely” (Arkhangelsk Region). The data were obtained by photofixation of the architectural monuments, schematic measurements, and ethnographic survey conducted among local residents using the method of interview. The research employs the original methodology developed by the Doctor of Culturology A. B. Permilovskaya on the architectural-ethnographic exploration of the sites of wooden architecture. Cultural landscape of Onezhskoye Pomorye (and the Russian North overall) primarily is the landscape of rural historical settlements. Northern settlements emerged in close connection with the natural landscape and transformed it into a cultural one. Special role in this process was played by the local population – the Pomors, who were guided by the principles of creating compact settlements, with closed type of dwelling to due to the harsh climate. The adaptive capabilities of traditional dwelling, reflected in its architectural design, allowed the people to survive in the severe conditions of the North. The dwelling is a reflection of natural space of the Russian North and the Arctic, passed through the “prism” of local mentality and carpenter's culture, coexistence of man and the surrounding natural environment, special marker of the North Russian identity, and intrinsic part of the North Russian cultural landscape.

DOI: 10.7256/2454-0625.2021.11.36684

Abstract: This article presents and compares the reflections and conclusions of the prominent Russian sociologists, economists, and political scientists. Having analyzed the transit of Russian sociality, they come to quite disappointing conclusions. Unfortunately, Russia did failed to take its rightful place among the European (Western in a broad sense) states and societies, did not build legal society and institutions, and the established market and private property have significantly deformed, since the authorities and law enforcement agencies of different levels rigidly controlled business for the purpose of share profit, or even seizure and appropriation of the property of others. This indicates not just a crisis, but disintegration and negative transformation of the Russian social system. The author believes that the modern sociality experiences transformation associated with the completion of the culture of modernity and the establishment of futureculture, the structure of which is yet obscure. Such transformation generates sociality that differs from the previous one; however, in many its pioneers and “initiators of discursiveness” continue to largely adhere to the principles of liberalism, although modified, and often unrecognizable. In this regard, the author discusses not only the state of social institutions, but also the ways for overcoming the prevalent situation sought by separate individuals.

DOI: 10.7256/2454-0625.2021.11.36838

Abstract: The subject of this research is art magazines of the late XIX – early XX centuries and their role in cultural life of the turn-of-the-century era. Based on the comprehensive and systemic culturological approach, which encompasses historical-cultural method, textological analysis, scientific classification (analysis of primary sources, secondary data), structural-typological and other methods of scientific analysis, the author advances the general characteristic of the specificity of the new format of periodicals as an intrinsically valuable phenomenon of the Silver Age. Special attention is given to the prerequisites for creation of art magazine, as well as the cultural context of its emergence. The symbolist magazine did not only promote new trends in art and literature, but also formed the unique cultural phenomena. Being a platform for uncompromising and innovative findings, the symbolist periodicals have become a launching ground for such phenomena as symbolist journalism, symbolist criticism, new illustration, as well as advanced methods of arrangement of printed publications. The novelty of this research lies in determination, classification and detailed description of specific features that distinguish art magazines of the Silver Age, as well as revelation of a range of phenomena generated by this format of periodicals. It is demonstrated that besides the fact that art magazines of the turn of the century have become a unique diary of the era, which most clearly reflected its mentality, as well as evolution of art and thought of the late XIX – early XX centuries, they largely determined the cultural paradigm of the Silver Age. The presented materials and conclusions can be used in lectures and seminars on the history and theory of culture, the history of Russian journalism, development of the course “Art Magazines of the turn of the XIX – XX centuries”, as well as contribute to broadening of theoretical representations of the culture of the Silver Age.

DOI: 10.7256/2454-0625.2021.11.34376

Abstract: Cross-cultural communications prompted the international popularity of the Japanese original genre of anime. It has become the translator of not only the Japanese mentality and traditional values to the West, but also demonstrates the changes taking place in Japan. The analysis of artistic image of the anime heroine Atsuko Chiba (Paprika) is the goal of this research. Noticeable changes in the status of women in Japanese society are observed only since the middle of the XX century, which immediately found reflection in Japanese cinematography. The use of empirical and comparative methods allow establishing that the changes taking place in Japanese traditional society changes retain the national peculiarities. The anime film “Paprika” directed by Satoshi Kon, which is based on the eponymous novel by Yasutaka Tsutsui, reflects the transformation of the role of women in modern society. The novelty of this work lies the fact that this article analyzes the virtually unstudied topic of the artistic imagery in anime and the structure of modern female image therein. The images of Atsuko Chiba and Paprika, translated from the novel to anime, indicate the changes that took place in the Japanese society in the late XX – early XXI century, and namely the female image that gives a better perspective and sense of such changes. Despite the Western influence upon the traditional Japanese society and transition of the country into the new level of development, did not hinder the preservation of national peculiarities that are based on the century-old traditions and Japanese mentality.

DOI: 10.7256/2454-0625.2021.11.34939

Abstract: This article examines the historical factors of the emergence and existence of French Quadrille to Russian dance melodies. The author traces the strict rules in performing French quadrille in high society, their gradual changes since it initial emergence in Russia until 1917. Analysis is conducted on the proliferation of French quadrille to the masses, its further development, and theatrical treatment of national quadrille after the revolution. Special attention given to the fact of the appearance of fashion for Russian costumes, dances and songs in the late XIX – early XX centuries at the balls. The author compares the patterns of French quadrille and country-dance with the patterns of folk quadrille. The examples of the published collections of Russian dances and French quadrilles “on Russian themes” are provided. The article traces and indicates the fact of the impact of French quadrille upon the emergence and formation of the entire genre of Russian mass dance, which remains to this day. The article also discusses the emergence of dance chastuska, its interaction with the folk quadrille, and the reason of its popularization. The conclusion is made that namely French quadrille “on Russian themes” and the patterns of country-dance affected the emergence and existence of folk quadrille virtually in all Russian regions.

DOI: 10.7256/2454-0625.2021.11.36854

Abstract: This article explores the works of the famous Kabardian fashion designer Madina Alisagovna Hatsukova, whose costumes are worn by the guards of the King of Jordan, artists of Kabardino-Balkaria and Karachay-Cherkessia, prominent statesmen of the Chechen Republic, popular singers and musicians, and numerous ladies for their wedding ceremonies. The article represents a panoramic overview of the works of Madina Hatsukova, taking into account all aspects of interest of the designer. Description is given to various types of activity of the fashion designer – from hand embroidery and lace weaving to creating sewing patterns and scientific research on decoding of the ornaments in the museum samples of ancient costumes. This publication is inspired by the Madina Hatsukova’s personal exhibition “Princess of the Sun”, held in the North Caucasus branch of the State Museum of Oriental Art in Maykop in September-October 2021. The novelty of this article consists in comprehensive analysis of the works of Madina Hatsukova, which are widely known in North Caucasus and not so much to the Russians audience interested in modern ethnic costume. Although Madina’s works are intentionally limited to the traditional patterns and configuration, she experiments with different types of fabrics, their combinations and color solutions. National costume for a symbol of cultural revival, rather than a symbol of the past; it is the symbol of ethnic identification. Madina Hatsukova contributes to high symbolic load of the traditional costume, forms empathy of not only Circassians, but the entire multicultural population of the Russian Federation.