Abstract: This article examines the symbolic space of northern cities of the Sakha Republic (Yakutia), represented by art objects of modernity. The interpretation of landscape text, its symbolic transformation within the framework of transformations of the state structure contributes to broad understanding of territorial identity and determination of its new forms and projections. The authors consider the experience of Central Russia and Western cities. The article presents classification of art objects, murals and graffiti of the cities of Sakha Republic (Yakutia) by structural-semantic hierarchy in the monumental decorative art of urban space. Special attention is given to the bright examples with regional and local code components, as well to the objects created under the influence of Western culture. The novelty of this research consists the overview and analysis of the art objects of northern cities of the Sakha Republic (Yakutia) from the perspective of semiotic approach. The peculiarities of creation of art objects, their symbolism and meaning are determined. The author highlights the main flaws in the concept of creation of urban spaces in the North, as well as offers possible solutions to the questions of formation of favorable urban environment, taking into account seamless adaptation to time and place. Emphasis is  made on the need for systemic approach in the search for own identity in erection of art objects, application of color and light, as well as on the need for functionality and environmental friendliness of art objects in northern cities of the Sakha Republic (Yakutia).

Keywords: northern city, symbol, urban environment, landscape, identity, art object, urban space, symbolic space, regional component, sculpture

Abstract: This article reviews the challenges and problems of modernity, as well as discusses the ideas and vectors for their solution. The first problem is demotes as the crisis of modern culture and the need to preserve life on the planet. It is associated with the nature and development of European sociality, which generated the ecological crisis, pandemic, and other problems. The author argues that the culture of modernity ceases and is about to be replaced by another culture (future culture). The second problem delineates “social theodicy”, i.e. development of attitude towards increasing evil. The main aspects of this phenomenon are discussed. The third problem pointed by the author, is the problem of salvation and righteous life. In this regard are examined two different models that determine cultural life: semantic view of life of the entire society, and scenarios of individual life. Comparison is conducted on the scenarios of individual life of the Middle Ages and Modern Age; the uncertainty of the latter is underlined (if not readiness for Parousia, then what: engagement in implementation of the project of modernity, but pursuing which purpose – enrichment, success, happiness, fulfillment of duty?). The pattern of the individual scenario of future culture is outlined. Within its framework, a person must solve the following dilemma –on the one hand, human is finite and mortal, while on the other, as a human of history and culture – infinite and immortal. The solution to this dilemma is offered. In conclusion, the author discusses the anchors that the person of the transitional era can rely on: critical and reflexive thinking, family ties, identity, creativity and art.

Keywords: crisis, modernity, solution, individuality, personality, culture, problems, challenges, present, future

Abstract: The article discusses the historical-culturological component of jewelry and precious metals in culture and living environment of the Volga Tatars. Emphasis is placed on the customs, folklore and religious aspects with mentioning on the jewelry and precious metals. Detailed description is given to the current situation and meaning of jewelry within the framework of the topic of research. The goal lies in conducting a historical-culturological overview and analysis of jewelry and precious metals in the context of spiritual culture of the Volga Tatars, which necessitates to examine the cult component of jewelry and images related to precious metals. The author also touches upon the influence of pre-Islamic and Islamic culture upon the survived artifacts. Analysis is conducted on such aspects of the Tatar culture, which indicate correlation between jewelry, spiritual heritage, and religion. The author point out the instances when jewelry reflects intangible culture in the material component of the Tatar people; as well as reveals the unique code of the Tatar culture that to one or another extent is depicted on jewelry items. The article reviews some cultural traces of the period before the Bulgars, and chronological development of the Tatar culture up to the present day under the influence of Islam.

Keywords: tatar culture, jewellery art of tatars, gold, silver, Tatars, precious metal, jewelry, tatar religion, tatar customs, folk costume

Abstract:   The relevance of studying the war memorial heritage consists in the adoption of new norms of the Constitution of the Russian Federation on protection of historical truth, which implies commemoration of the defenders of the homeland, and heroism of the people. The subject of this article is the stages of creation and functionality of the sites of war memorial heritage in time and in space. The object of this research is the war memorial heritage. The author highlights and analyzes six key stages of creation and functionality of the sites of war memorial heritage: motivational-explanatory (grounds for memorialization); procedural-memorial (procedure for perpetuation of the memory); maintenance-protective (repair, restoration, improvement; prevention of unlawful actions (inaction) with regards to the sites of war memorial heritage); mobilization (relocation of a war memorial site); destructive (demolition, damage); constructive-restorative (reconstruction of a site). The scientific novelty consists in comprehension of the key stages of creation and functionality of the sites of war memorial heritage, which is of scientific, theoretical and practical interest for the development of effective cultural strategies in the future. The conclusion is made that the period of creation and functionality of the war memorial sites is characterized by the presence of six key stages. The tangible component of a site can be subjected to destructive processes, including demolition. However, sustainability of the symbolic component allows subsequent regeneration of tangible mediums of the monuments, which is confirmed by constructive-restorative activity. The author underlines the antagonism of the tangible and symbolic components of war memorial heritage, in the context of which tangible is constantly subject to modernization, while symbolic should remain unchanged.  

Keywords: protection of historical truth, commemoration, cultural policy, historical memory, space, time, military memorial heritage, images of the past, place of memory, sacral place

Abstract: The subject of this research is the historical-typological peculiarities of reflection in the Soviet cinematography of 1930s – mid 1980s of internal migrations, primarily from the rural areas, as well as determination in the historical dynamics of their value motivations, factors, means, and gender peculiarities. The object this research is the Soviet everyday life as a holistic lifeworld since the early 1930s to the early 1980s, which includes the three eras of spiritual life of the Soviet society: totalitarianism, “thaw”, and the “70s”. The subject of research is viewed in correlation of the ideological and everyday levels of life in their historical dynamics. The article employs the historical typology of culture, content analysis, comparative and hermeneutic methods. The theoretical substantiation of this study consists in the conceptual positions on the artistic methods of the cognition of culture. The conclusion is made that the images of migration in cinematography of the totalitarian period by factors, motives and means are inaccurate. However, from the perspective of systemic-holistic approach, the “typical” artistic images, which inaccurately reflected the internal migrations, expressed the profound essence of Soviet culture of the totalitarian period: concealment of truth and romanticization of reality. In the more realistic depictions of the cinematography of “thaw” period was reflected the “truth of life” and aesthetization of reality, naturalistic style, and social optimism. The formal and “enlightening” depictions of the “70s” translated the in-depth essence of this period: escalation of all-round crisis. Cinematographic works that in one or another way touched upon the theme of internal migrations, namely in the 1950s and 1980s, reflected the binary nature of the Russian-Soviet culture and mentality.

Keywords: migration factors, value motivation, cinema art, artistic image, migration, rural, marginality, everyday life, Soviet culture, gender features