Abstract: The subject of the research is the topos 'Turgenev places' as the Russian and all-European spiritual and cultural area as it was depicted in memoirs and literary works written by Russian migrant writers of the first wave such as B. Zaytsev's novels 'Zhukovsky' and 'Turgenev's Life', I. Shelev's spiritual novel 'God's Ways', and N. Tsurikov's memoirs 'The Past'. So-called Turgenev places are the territories of the Chernsky District of the Tula Province and Mtsensky District of the Oryol Province that are related to the life and creative work of Ivan Turgenev. These texts are analyzed by using the cultural historical analysis and such concepts as 'universal cultural', 'national', 'single' and associated concept of 'the small motherland' as a complex polyfunctional complex. The results of the research demonstrate that the writers view Turgenev places as a cultural symbol of 'the small motherland' associated with such concepts as 'native' and 'national' and at the same time closely related to the image of a writer as a 'Russian European' which made it a guiding symbol for all Russian writers who migrated to the other land. Moreover, the present research extends the existing corpus of researches on Russian migrant literature and the role of Russian migrant literature in preserving the national cultural heritage. For the first time in the academic literature Tishina raises a topic of Turgenev places as the spiritual and cultural area in literary works of the Russian emigre writers which is an important contribution to the modern theory and history of culture. 

Keywords: cultural area, Russian migrant literature, Russian migrant culture, Russian migration community, Russian migration, Tsurikov, Shmelev, Zaytsev, Turgenev places, Turgenev

Abstract: The subject of the research is the unfolding of 'internal action' that makes the concept of intoning message viewed as a synthetical coordinated phenomenon. This is a stage action, musical composition, multidimensional space of musical dramaturgy analyzed in terms of the artistic thinking of the second half of the 20th century in line with the Catholicism tendency in the French musical theatre. The purpose of the research is to perform a hermeneutical reconstruction of the process of developing the aforesaid concept by using the method of a detailed de visu analysis of a note text. In her research Azarova has applied conceptual critical research methods to analyzing the ideas of Georges Bernanos and composition ideas of Francis Poulenc. The author of the article has also used the methods of historical and theoretical analysis of musical compositions, in particular, the theory of musical intonation. For the first time in the Russian academic literature the author analyzes connections between Poulenc's opera music and Catholic tradition, defines genre codes of intonational-thematic opera elements and describes the function of declamatory voice intonations comprising the dynamic basis of the composer's creative process. The author also discovers parameters of Poulenc's compositions that have common elements with the composition principles used by Claudio Monteverdi, Giuseppe Verdi, Modest Mussogorsky and Claude Debussy, i.e. musicians the opera is devoted to. The author of the article also touches upon the problem of structuring the musical time in the opera, defines vectors for the development of the musical message that influence the formation of the dramaturgical concept of the intoning message, essential elements of the intonational fable and bearers of the musical message. Azarova analyzes new ways of interaction between regular and irregular rhythmic elements, variable pervasive intonational thematic units participating in the logical organisation of the whole. The author also gives a new interpretation of the basic intonational dramaturgical spheres: liturgic, metaphysical anxiety and death fear, social transformations, gifts of the Holy Spirit. 

Keywords: Christianity, sense, logic, intonation, dramaturgy, composition, Francis Poulenc, opera, Dialogues of the Carmelites, semantic counterpoint

Abstract: The subject of the research is the conception of the synthesis of music and painting offered by Mikhail Gnessin. The object of the research is understudied and unknown researches of Mikhail Gnessin that reflect the main provisions of his conception. The author pays special attention to Mikhail Gnessin's unpublished text 'Rimsky-Korsakov and Painting' (1940's) in which Gnessin fully presents his views on the interaction between music and painting and describes techniques of 'sound recording' in orchestra compositions based on Rimsky-Korsakov's studybook 'The Basics of Orchestration'. The main research methods are the analysis of Gnessin's hand-written and published texts as well as comparison of the main provisions of his concept with analogous theories of art synthesis offered by other authors. The main conclusions of the article are the following. Gnessin offers his own conception of the synthesis of music and painting through interaction of their 'ultimate' features (music can be picturesque and spatial and painting can have temporal and constructive parameters), this concept reflecting the most progressive trends in art of the XXth century. 'Rimsky-Korsakov and Painting' is one of the first researches to be devoted to the interaction between music and painting based on the creative work of Rimsky-Korsakov (at the level of the smallest elements 'color - sound', techniques of musical 'sound recording', and musical dramaturgy). The novelty of the research is caused by the fact that the author of the article introduces understudied and unpublished texts by Gnessin including a fundamental research 'Rimsky-Korsakov and Painting' which has never been a subject of particular research before. 

Keywords: Russian music, orchestration, Silver Age, synthesis of arts, colorful, music, painting, Rimsky-Korsakov, Gnessin, visual arts

Abstract: In her research Tkacheva studies various points of view on the definition of 'public art' and analyses this term from the point of view of polysemy of its components. The research results demonstrate the connection between reviewing key concepts of aesthetics under the influence of post-modernism ideas and conceptualism and development of a new direction in art. Special attention is paid to features of perception and use of the term "public art" in Russia. On the one hand, the author gives examples of it as western practice, on the other hand, reviews attempts of the Russian academic community to give their own definition based on the sociocultural and historical specifics. The method of the bibliographic analysis has been used for this research. In the course of the research the author analyzes analytical texts that describe various points of view both on contents of the term 'public art', and on the perspective of interaction between art and society in general. As a result of the research the author analyzes key approaches to interpretation of the concept 'public' as the main component of the term 'public art'. The choice between understanding 'public' as characteristics of the place, character of problems which the artist addresses or as a way of communication, leads to emergence of various art strategy within one phenomenon. On the one hand, this defines its mobility and variability, and on the other hand, allows to define the main borders of the considered concept.

Keywords: sociocultural context, street art, society, urban environment, public space, contemporary art, public art, postmodernism, art process, terminology

Abstract: The subject of the present research is the foreign films seized by the Soviet government from Reichsfilmarchiv in 1945 and released by the USSR government as trophy films during the period since 1946 till 1956. From the legal point of view, the trophy status of those films can be doubted. However, the present research is focused on the trophy film as a certain cultural phenomenon of late Stalinism. That is why the phenomenon involves all foreign films marked as trophy films by the Soviet government or audience. By analysing government documents of both USSR and Russian Federation (archive and published documents) as well as ego-documents (letters, diaries, and memoirs) and some fiction, the author of the present article tries to understand how trophy films turns into an individual cultural phenomenon from an irrelevant episode of post-war Soviet history. The novelty of the research is caused by the fact that the author touches upon understudied texts that reflect perception of trophy films. This allows to make absolutely new conclusions. The research results demonstrate that despite the fact that the term 'trophy film' was introduced into the academic community only in 1950 when those films release started to decline, the phenomenon 'trophy film' developed and extended to the phenomenon of cultural phenomenon in retrospective reception. Retrospection both distorts and extends chronological frameworks and extent of the phenomenon itself. 

Keywords: Soviet film history, cultural transfer, cultural import, Soviet perception, postwar society, gosfilmofond film archive, displaced cultural valuables, trophy films, spoils of war, retrospective perception

Abstract: The article is devoted to the prerequisites of the hip-hop culture in terms of the late capitalism culture of the XXth century. The author of the article describes the formation of the main elements of the hip-hop culture against the backgrund of popular protest movements of yong people during the 1960 - 1980's in the after-war West. Western countries faced the disappointment of the wide strata of youth in political and economic valus. As a protest against the established regime, they created their own cultural movements. The methodology of this research is based on the historical comparative approach. Analysing social, economic, and political factors that have influenced the development of the hip-hop culture, the author of the article appeals to the historical roogs of hip-hop as a musical movement. Based on different examples, the author analyses particularities of the hip-hop aesthetics in dancing (break dancing), art (graffiti) and practice of using rhythmisized recitative (emceeing). At the present time the academic community does not offer a single approach to studying the hip-hop culture. The need to fill in this gap creates the rationale of the present research in particular and hip-hop researches in general. The author describes social, economic and political processes that have influenced the hip-hop culture. Focusing on the main milestones thereof, the author defines key changes that have accompanied the hip-hop culture from the moment it was created as a cultural movement and up to the present. 

Keywords: rap, aesthetics, philosophy, aura, post-modernism, hip-hop studies, graffiti, music, dance, hip-hop culture

Abstract: The article is devoted to the concept of the synthesis of arts as the aesthetic education program aimed at harmonious development of personality. One of the way to achieve this goal is free dance and plastic dance practice that is based on the connection between music and movement, group and individual improvisation. The author of the article analyzes the history of the origin of plastic dance in Russia as an original movement of free dance and focuses on the principles and goals of plastic dance. Musical plastic (or vocal plastic) action becomes a special artistic (scenic) genre. By analysing particular practices and events that express the idea of the synthesis of arts, the author demonstrates the problem in a new light and highlights the basic phenomena related to it. The psychological aspect of the problem is that the idea of the synthesis of arts being expressed gives us a new unique and intense experience. In the course of the musical and movement improvisation two mental aspects are combined, the conscious and the unconcscious, and an individual who was once split apart becomes one whole again and, as a consequence, physically and mentally healthy. Only the combinatino of developing and artistic expressive means makes it possible. The dance becomes a method of personal development that allows to develop free personality with harmonous body and soul who strives for high ideals and goals. 

Keywords: aesthetic education, improvisation, musical-plastic action, musical movement, free dance, plastic dance, synthesis of arts, psychology of art, creativity, Isadora Duncan

Abstract: The subject of the research is the problem related to representation of symbols and images of ancient Greek culture in creative work of one of the most famous English architects and scenewrights Inigo Jones (1573 - 1652). The author interprets the influence of ancient Greek culture in terms of the development of Inigo Jones' creative method that is characterised with the eclectic interaction of two oppositely directed styles, Baroque and Palladianism. Another issue to be analyzed is the phenomenon of consciously constructed symbolic values that use the images of ancient Greek culture to transmit state policy of Stuart dynasty in Britain at the beginning of the XVIIth century. Inigo Jones' hypothesis about the origin of Stonehenge the present article is devoted to is a good example there of. The methodology of the research involves description of Inigo Jones' architectural and scenographic methods, historiogrpahical review of research literature on the matter and analysis of Inigo Jones' treatise on the origin of Stonehenge. The novelty of the research is caused by the fact that the author focuses on understudied hypotheses of Inigo Jones about Stonehenge in terms of the allegoric representation of the myth about Stuard dynasty. The conclusions made by Khasieva in her research reveals little-known aspects of symbolisation of ancient Greek culture in Inigo Jones' works as well as the role of that hypothesis in terms of Inigo Jones' strategy of developing the image of state and monarch. 

Keywords: Stuart dynasty, vitruvian principles of architecture, Banqueting House of Whitehall, baroque, palladianism, English architecture, Inigo Jones, Roman Britain, Stonehenge, Celtic culture

Abstract: The subject of the research is a famous aria of the Queen of the Night in the second action of Mozart's play 'The Magic Flute'. Both the image of the Queen of the Night and the way the image is represented through music are polysemic and symbolic both in the miracle-play 'The Magic Flute' in particular and Mozart's creativity in general. Mozart touched upon such themes as suffering and death using a set of expressive means (rhetorical figures, symbolic tonations, and certain melody-harmonic formulas) in a number of his compositions. The same set of means is used in the aria of the Queen of the Night which is the aria of revenge as a genre. Moreover, that 'serious' aria also has comic features that brings new shades of meaning into the image of the heroine and the way the image of represented through music. The research method is an integrative approach to analysing the opera character from the point of view of its meaning, symbolics, and musical representation. The main conclusion of the research is that the image of the  Queen of the Night combines both a serious symbol of the darkness and evil, and fairy-tale image of an evil fairy, and social type as a negative tendency in people's souls. The novelty of the research is caused by the fact that Trifanova makes a hypothesis that Mozart represents the themes of death and fate in the image of the Queen of the Night. The composer represents these themes not only in a serious but also comic way, thus expressing not the fear of death but fearless perception of death. 

Keywords: mystery, death, Queen of the Night, aria, symbol, Magic Flute, opera, music, Mozart, fairy tale

Abstract: The article is devoted to the analysis of the education system offered by a famous Bulgarian composer, pianist and folklorist Pancho Vladigerov. The authors of the article prove the idea that Pancho Vladigerov's education system develops European and Russian music pedagogy traditions and, at the same time, has original features conditioned by personality traits of the composer and his individual performing style and priorities in education. The authors of the article define particularities of the musician's approach to interpreting note texts and describe Pancho Vladigerov's contribution to the development of the piano art of the XXth century. The research methodology is based on the systems approach that allows to define the connection between expressive and technical goals set by Vladigerov for his students in the process of teaching professional skills as wellas to determine the nature of the relationship between tradition and innovation in his education system. For the first time in the academic music literature the authors provide information and data from foreign resources on Pancho Vladigerov's teaching activity as translated by D. Bobrina from Bulgarian. The novelty of the research is caused by the fact that the authors define the main teaching principles used by Vladigerov in the process of teaching piano playing and composition and describe the musician's contribution to the process of developing Bulgarian pianistic and composition schools. 

Keywords: performing technology, musical composition, performance interpretation, Bulgarian pianistic school, piano art, Bulgarian music, music pedagogy, Pancho Vladigerov, performing style, virtuosity