Abstract:   The subject of this research is the supervisory practice over the reading of religious literature by the lyceum students, which as a part of overall system of supervision in the Imperial Alexander Lyceum. Reading, including the non-educational material, was perceived as an intrinsic element of upbringing. Pedagogical censorship was extensively used as a regulatory reading practice of the students in educational facilities of the Russian Empire. Based on the materials from the library of the Imperial Lyceum in Tsarskoye Selo, the author analyzes the principles that determined the policy of enlightenment during the indicated timeframe. The work applies the historical and bibliographical methods, as well as the M. Foucault’s concept of the growing importance of supervision in the culture of Modern Times. Examination of the history of establishment of the content of library in Imperial Alexander Lyceum during the initial years of its existence, allowed the author for the first time in Russian science to meticulously analyze the question of implementation of censorship as a mechanism of formation of the reading circle for the students of the elite educational facility, which graduates had to fill the need of the empire in highly-educated officials. The attraction of the previously almost unstudied material demonstrated how the state educational policy during the ruling time of Alexander I affected the library of the secular educational facility.  

Keywords: religious literature, Russian Bible Society, Alexander's mysticism, Imperial Alexander Lyceum , educational principles, pedagogical censorship, ecclesiastical censorship, Alexander Golitsyn, Orthodox party, Alexander Shishkov

Abstract: The object of this research is the artistic ethnic heritage as a cultural phenomenon. The subjectified results of artistic crafts existing in the traditional cultures, in modern era remain preserved only as the museum compilations. The study is based on the results of examination of the museum collections of the indigenous people of Siberia – the Shors and Bachatsky Teleuts in the 23 Russian museums and field research conducted in the habitat of these peoples by one of the authors of this article. The subject of the work is the determination of specificity of the structure of artistic culture of the Shors and Bachatsky Teleuts within the framework of analysis of the antecedent theoretical tradition. Using the structural functional method, the artistic ethnic culture correlated with various forms of economic activities of the indigenous people of Siberia, is being analyzed from the perspective of the following dimensions: information (spiritual-conceptual), institutional (organizational-structural), and morphological (zonal-visual). The main conclusion consists in the fact that due the ruination of the production technologies within the environment of existence of the subjects characterizing the artistic ethnic culture, the authors formulate the notion of the “object of artistic heritage”; indicate the methods of presentation of the objects of artistic heritage in the modern sociocultural space,  which include interpretation of the conceptual content of décor and decorating technologies, their reconstruction and translation.

Keywords: morphological character, institutionalism, information, heritage, tradition, ethnicity, artistic culture, actualization, artifact, museum object

Abstract: This article examines the text of V. S. Bibler’s lecture “Culture and Museum by the Year 2000”” (1977) published in the body of archival materials of the philosopher. In accordance with the research strategy of Bibler, the text carries a sketchy and incomplete character, and is open for interpretation. The author provides an analysis of relevance of Bibler’s idea for the modern museology in comparison with the concept of post-museum, used as an efficient model for describing the transformations of modern museum as a sociocultural institution. The article also studies Bibler’s ideas about the promising trends in development of museum as a cultural phenomenon in terms of the architectural and symbolic solution of the suggested concept. The author explores the indicated in the text model of spectator’s perception of the artworks in museum space that is presented as a transition of the visual image into the implicit speech of a spectator. The concept of comprehension as a “rapture” of composition and its cultural connotations is being reviewed. As the comparative material, the author analyzes the content of D. A. Prigov’s “Phantoms of Installations” that introduce the original visual concept of a museum, as well as determines the meaningful moments that allow pursuing correlation between the concepts of Bibler and Prigov. Installation “The Room of an Artist D. A. Prigov” in State Hermitage Museum is being considered as an example of visualization of the examined museum concepts. The author underlines the relevance of project of V. S. Bibler’s museum concept within the framework of the formulated by him concept of philosophical logics of culture. The scientific novelty lies in the fact that Bibler’s concept for the first tame is presented in the context of museological discourse, as well as interpreted as topical within the framework of discussions regarding the institutional specificity of post-museum in the modern cultural space.

Keywords: spectator, installation, Prigov, post-museum, work of art, culture, museum, Bibler, image, metaphor

Abstract: The subject of this research is the media image of Russian in a glossy magazine, while the object is the photographs in the glossy magazine “Vogue”. The goal of this work is the reconstruction of Russia’s image as a polysemantic text through the retrospective of illustrations on the “Russian theme”. Russian ballet, train stations, old mansions, fur hats and coats, birchwood, kokoshnik, and other cultural elements create a distinguish artistic reality, and text created from the allusions and quotes. Meanings of the text are extended over time, acquiring the historical memory and generating the new messages. Methodological foundation of the work contains the semantic analysis, which allowed revealing the components of Russia’s image in a glossy magazine. The scientific novelty lies in the fact that the image of Russian in a glossy magazine represents a media image leaning on the well-known stereotypes, repeating storylines, themes, and details. It is noticeable that the stereotypes have not changed much throughout the fairly long history of the magazine. Basic stereotypes include the Russian winter, folklore, ballet, and space. Among the leading aspects depicting the image of Russia  in the Vogue magazine, can be highlighted the portrait images of the prominent of cultural figures, winter subject, ballet themes, temples, monasteries, folklore and “Soviet” motifs, themes of space and carnival. An important place in establishing the image of Russian in a glossy magazine belongs to the architectural landscape, mostly expressed in a Petersburg and Moscow texts. Russia’s image is created using multiple details that refer to the popular stereotypes. The image of Russia also has a feature of citationality – when the photographers refer to the historical and literary material: revolution and White movement, history of ballet, as well as characters from the compositions of L. N. Tolstoy, I. A. Bunin, B. L. Pasternak.

Keywords: subject, artistic detail, style, photography, mass media, storyline, glossy magazine, Russia's image, stereotype, citationality

Abstract: This article is dedicated to analysis of the concept of “cultural-educational space”, defined by the author as an objectively existing in culture system of zones (loci) of the physical and virtual reality, used for implementation of educational practices (education, upbringing, enlightenment) and personal development of a child. The author provides the key factors that affect the character and quality of structure of the corresponding phenomenon: demographic; socioeconomic; correlation and interrelation of private and public segments of education; mental cultural space that determines the place and status of childhood in culture. The theoretical-methodological grounds of the research lies in the culturology of education, established in the late XX – early XXI century on the basis of psychology, pedagogy, sociology of education, philosophy of education and culturology. The proposed in the article classification of zones (loci) can serve as a theoretical foundation for the further realization of comparative historical-cultural research, as well as designing the new segments of cultural-educational space (regional, city, particular facility) that comply with the system of invariant and variant practices of child’s existence in modern world.

Keywords: Culturology of education, Practices of everyday life, Adulating, Childhood in the city, Culture of childhood, World of childhood, Classification, Structure, Cultural-educational environment, Cultural-educational space

Abstract: The subject of this study is the Soviet art in the context of evolution of the postwar artistic culture (1945-1960). Attention is also focused on the growth of artistic corps, influx of young forces, national and creative diversity of artworks as an achievement at the examined timeframe. The aim goal of the article consists in the need for expanding the existing knowledge on visual arts of the first fifteen postwar years, which is closely associated with the preceding stage – period of the Great Patriotic War. Emphasis is made on how the artists sought to capture the crucial events of the historic battle for freedom, reveal the underlying causes that ensured victory of the USSR, as well as high moral qualities of the Soviet people. The study highlights that the painters who survived the years of grievous suffering during the Great Patriotic War, revealed the new, previously unknown depths of the national character. Artists noticed a hero in the most ordinary Soviet man. From the perspective of the theory of art, the author characterized the relationship between the concepts of "Soviet art", "officially approved art", and "realistic method". The research methodology implies the method of analytical study of sources that clarifies the logic and content of the Soviet painting of the indicated period. The methodological base for the study includes the thematically necessary compilations on the theory and history of art, history of the Soviet culture, and philosophy of art. The author also used a number of electronic publications. The basis of the article lies in the comparative-historical method that helps to determine the specificity of Soviet visual arts of the postwar period (1945-1960), which allows citing that the Soviet scholars trace the transformations in the artistic-imagery structure of Soviet starting back in the prewar period. The scientific novelty consists in revising the evolution of Soviet postwar visual arts from the perspective of direct impression of the artists who have participated in the war, as well as in description of the significance of the work of Russian painters in development and preservation of the Russian art of the XX century. In conclusion, the author underline the fact that the visual arts during the period of 1945-1960 affected the popularization of the themes of Russian painting of the postwar years, which was dedicated to the events of the Great Patriotic War. On the materials of the battlefield memories, Soviet artists have created a vast amount of paintings. In addition, the unofficial art that was represented at the exhibitions and generated government’s criticism entered the cultural arena.

Keywords: Leningrad School, Moscow School, union of artists, official art, postwar period, exhibition, artist, Soviet art, Art, Soviet Art School