Abstract: Using the example of the Memoirs of the 1st Volga Regiment of the Terek Cossack Army by L. A. Rzhevussky and G. P. Fisenko, the article examines the role of regimental historiography in the development of the historical culture of the Terek Cossacks who were part of the regiment. The study of military historical works devoted to the history of regiments is very interesting, since they not only contain ideas about the past that are fixed in the mass consciousness of the regiment's representatives, but also contain meanings and judgments that are perceived by a social group at a certain period as valuable or even important components of collective self-identification. The research focuses on such issues as the identification of the author, the definition of tasks assigned to him by the official authorities and the command of the regiment, the identification of sources that formed the basis of the historical essay. Important for the research are the historical conditions in which the military historical work was created, the target audience for which it was intended, and the ways in which it was distributed to intended recipients. The study of regimental histories and memoirs requires an interdisciplinary approach combining historical research methods with a semiotic method and an identity approach. The novelty of the work is determined by the little-studied problem of the influence of regimental historiography on the development of the historical culture of the Cossacks, including the Terek. It is concluded that in the late 19th and early 20th centuries, regimental histories and memos were one of the ways to study, preserve and broadcast the combat history of the regiment. Their appearance was actively promoted by the official authorities. It is shown that the regimental historiography, including the "Memo of the 1st Volga Regiment of the Tersk Cossack Army", emphasized the importance of historical memory and continuity, and also established certain algorithms of actions for military units in conditions of war or intra-state conflicts. In addition, the regimental stories and memos conveyed corporate values that contribute to the preservation of the collective identity of the social group.

Abstract: The article analyzes the multi-stage process of developing and implementing the project of the monument to Catherine II in Yekaterinodar from the perspective of the concept of historical culture. The focus of the research is on the political attitudes laid down by the official authorities in the approved sculptural composition, and the ideas of the Kuban Cossacks about their past, seen by them in a monumental image. The paper examines the peculiarities of the ceremonies on the occasion of the laying (1896) and the opening (1907) of the monument. Special attention is paid to the historical context, which formed a unique socio-political and cultural climate during the creation of the Yekaterinodar monument. The degree of reliability of the presented scientific results is due to the source base, primarily materials from the funds of the State Archive of the Krasnodar Territory and the local newspaper "Kuban Regional Vedomosti".   The principles of scientific objectivity and historicism are at the heart of the development of this research area. The leading research methods include historical-genetic, historical-cultural and historical-systemic. The identity approach opens up new opportunities for interdisciplinary research. The novelty of the work is determined by the unexplored commemorative practices of the Kuban Cossacks from the perspective of the concept of historical culture. An analysis of archival documents and materials from the local press showed that the ceremonies on the occasion of the laying and opening of the monument to Catherine II combined elements traditional for pre–revolutionary celebrations – religious and military rituals. It is concluded that in the monument designed by M. O. Mikeshin and brought to life by B. V. Eduards, the Kuban Cossacks saw the idea of their continuity with the Cossacks and a demonstration of their rights to the lands between the Black and Azov Seas. The government, in the conditions of the revolutionary crisis of 1905-1907, pursued a specific political task – through the majestic image of the Empress to remind the Cossacks of their duty to faithfully serve the Throne.