Abstract: Interpreting the axioms of Holy Scripture, the spiritual ideas of the era of high Scholasticism and the texts of St. Francis of Assisi, Messiaen chose the choir as the instrument necessary for interpreting the spiritual meaning of the work. In the finale of the opera, the non-verbal and verbal parts of the invisible and visible chorus interact, acting as a commentator, participant in the action / "collective character" and, finally, the protagonist. Drawing on the achievements of modern theological thought and developing the tradition of Claudel's theatrical liturgy, Messiaen embodied in the opera's finale a set of spiritual ideas relevant to the modern era. These are the ideas of death as the liberation of the soul "from prison," the transformation of the soul of a saint under the influence of grace, spiritual light, praise of God in creation, spiritual joy, and the connection between man, the world, and God. The vectors of the hermeneutic reconstruction of the artistic idea of Messiaen's opera were translations into Russian of religious, philosophical and theological studies contemporary to the composer, revealing the meaning of the main spiritual ideas of the era of high scholasticism, as well as translations of texts by St. Francis of Assisi. The research tool is a musicological analysis of the musical text de visuale and other paintings of Messiaen's opera. This article highlights for the first time the interpretation of the spiritual ideas and poetic texts of St. Francis of Assisi in the finale of Messiaen's opera through the prism of the metamorphosis of the choir and its functions, as well as the connections of the "Franciscan Scenes" with the tradition of Catholicism by P. Claudel. The finale of Messiaen's opera, which includes a spiritual super-idea unified with Claudel's mystery, contains a complex of ideas of Franciscan spirituality. In the finale of the opera "St. Francis of Assisi. Franciscan scenes" Messiaen interpreted the following spiritual ideas: death as the liberation of the soul "from prison", inner spirituality, the transformation of the soul of St. Francis of Assisi under the influence of grace, truth, immortality of the soul, spiritual light, praise of God in creation and spiritual joy. Revealing the composer's interpretation of the verses of Holy Scripture, the spiritual ideas of the era of high Scholasticism and the texts of St. Francis of Assisi, the choir acts as a commentator, participant in the action, a "collective character" and, finally, a protagonist. The stage functions of the choir are variable.

Keywords: protagonist, transformation, choir, interpretation, psalm, lauds, prayer, Claudel, Messiaen, Saint Francis

Abstract: The author considers the translation of drama as a kind of literary translation. The author proceeds from the premise that dramatic translation is a type of literary translation that is dialogical in nature: it contains both literary and theatrical elements, in other words, in addition to the requirements imposed on the literary text, it must comply with the laws of the stage and the direction of the word. In the article, the author distinguishes the text as literary and theatrical material. Special attention is paid to the description of Tatiana Shchepkina-Kupernik's translation work in the field of drama. Using the example of individual scenes from Romeo and Juliet, the author examines the purposeful use of dialectal forms and jargon as an integral part of the author's idiosyncrasy, attention to rhyme and preservation of rhythm, and adaptation of the text for its subsequent pronunciation in a theatrical setting. The article uses the method of analytical study of sources. Based on archival materials, which are being introduced into scientific circulation for the first time, the relationship between Shchepkina-Kupernik and theater directors in the process of working on dramatic translations and their further stage implementation is considered; the translator's initial attitude to the person's perception of the translated of the literary text is revealed. The author concludes that in her work on dramatic translations of Shakespeare, T. L. Shchepkina-Kupernik considered the main thing not only to maximize the preservation of the author's style, balance, clarity in the transmission of meanings and images, but also to preserve the possibility of the scenic embodiment of the author's idea and its nature. Also, the translator paid special attention to the interpretation of words. Of particular research interest are the comments of Maria Knebel, an outstanding Soviet director, on the translation of Shakespeare's comedy "As You Like It". Based on individual memoir sources, the Shchepkina-Kupernik translation principles are revealed, thanks to which the director and actors get the opportunity to work with ready-made dramatic material that does not require literary refinement for convincing presentation in stage conditions.

Keywords: stage dialogue, sonnet, Knebel, T. Shchepkina-Kupernik, Shakespeare, theatrical performance, drama translation, Literary translation, idiostyle, memoirs

Abstract: The article considers the meaningful and conceptual boundaries of self-portrait in the modern Russian art history. A study of self-portrait is being carried out both on the example of intellectual positions of thinkers of the last century and of the scientific works of contemporaries. The text of the article reveals the ideological perspective of the semantic meanings of the self-portrait according to the ideological and constructive views of the present era. The object of research is the portrait genre in the fine art. The subject of research is the theoretical definition of self-portrait in the Russian art history. The purpose of this work is to establish the ideological and substantive values of a self-portrait in the modern art science. According to the set goal, the following tasks are solved: - to provide scientific and theoretical views on the artistic image of a self-portrait of modern researchers of the 21st century; - define terminological lexical units in these judgments, which can subsequently take the role of conceptual values. The novelty of the study is determined by the disclosure of the conceptual and theoretical aspects of the artistic form of a self-portrait, which has strong interpretative significance in the field of contemporary art. The author formulates the following conclusion: the ideological and theoretical expression of a self-portrait in the space of modern art history is revealed through interdisciplinary methods of scientific research, which assert their own terminological units in the meaningful disclosure of the artistic image of the portrait genre. Each of the terms established in the article is related to the conceptual representation of the socio-psychological sphere.

Keywords: aesthetics, artistic image, portrait genre, psychology of the image, compositional expression, historical stage, visual art, ideological content, painting, self-portrait

Abstract: This article explores the practical shift of China’s youth internet subculture in the digital era, aiming to advance the localization and mediatization of subculture theory and develop a context-specific theoretical framework. It reveals that digital technologies reshape subcultural expression through technological affordance, algorithmic recommendations amplify subcultural dissemination, and platform rules subtly regulate content production. Subcultures have evolved from “self-entertainment and self-expression” to “transcendence and integration,” with youth practices shifting from “resistance” to “participation,” and discursive strategies blending subcultural symbols with dominant ideologies. Using a multidimensional approach – combining theoretical analysis, case studies, policy interpretation, and technological examination – the study investigates how digital technologies, political regulation, and youth cultural practices interact to reconstruct subcultures. The article’s innovations include: moving beyond the traditional “resistance-incorporation” paradigm to propose a localized framework integrating “soft resistance” and “active participation”; analyzing the shift from “subculture” to “new dominant culture” through the dual lens of technological affordance and cultural policy; and examining digital technologies’ role in subcultural formation, dissemination, and development from a cultural studies perspective, offering fresh insights for localized subculture theory. The findings highlight a mediatized existence for China’s youth internet subculture, driven by technology, politics, and youth agency. Subcultures now engage in complex interactions with dominant culture, transcending marginality. This reconstruction enriches online culture, facilitates the transition to a “new dominant culture,” and provides youth with new spaces for cultural identity and value expression.

Keywords: subjective practices, localized theory, platform rules, algorithmic recommendations, new dominant culture, technological affordance, the digital era, youth Internet subculture, subculture reconstruction, Mediatized existence

Abstract: The theme of the "spirit of place" has long been popular in modern architecture and environmental design, which was developed by the Norwegian architect Christian Norberg-Schultz in the 1970s and 1980s. This idea turned out to be close to Chinese designers, especially those of them who inherited the ideas of the literati (wenren), and through the prism of Western ideas they took a new look at their own tradition. The purpose of the study is to identify some characteristic features of modern Chinese design culture associated with the influence of the literati on it. We believe that this specificity is largely related to the poetics of memories, the understanding of space as a series of images transforming and flowing into each other, "metamorphoses of being." The object of research is the products of the artistic and design culture of the literati and designers rethinking their tradition. In the course of researching the traditional aesthetics of literati, we rely on the works of the Russian sinologist V. V. Malyavin, as well as on Chinese and Japanese authors. Speaking of the modern version of this aesthetic, we turn to the texts and projects of architect Wang Shu, designer Song Tao, photographer Sun Jun, etc. Initially, wenren is a man of high moral qualities, then a scientist and an official. Traditionally, the life of the literati is solitude and even hermitage, hence the theme of memories in their work. In addition, this is "amateurism", an unprofessional passion for the "elegant" – painting, music, etc. Aesthetically, it is an elegant, but unassuming beauty of the "ya". The tradition of "hidden meanings" and "pure offers" is also associated with the literati culture. Influenced to a large extent by the culture of the literati, many Chinese designers of the twentieth century turned to the poetics of memories and even the theme of nostalgia, interpreting space as a series of transforming images where the present is intertwined with the past, and the natural with what is made by human hands. The traditional concept of a "garden house" is certainly felt today, when the interior space is likened to a relief, and the relief is thought of as a dwelling.

Keywords: Wang Shu, nostalgia, spirit of the place, house-garden, poetics of memories, wenren, literati, Chinese design, Sun Jun, elegance ya

Abstract: The subject of the research is works of Russian fine art with Crimean themes from the end of the XVIII – beginning of the XX century based on the analysis of theoretical developments of Russian scientists in the field of cultural heritage, which reveals the problems of a comprehensive step-by-step systematic cultural study of fine art with Crimean themes from the moment of its appearance in the late XVIII century to the beginning of the XX century. The aim is to identify the features of the study of the Crimean landscapes as a cultural heritage of Russia. The study of art in a socio-cultural context highlights the issues of the integration of the Crimean Peninsula into the Russian socio-cultural space after its annexation to the Russian Empire in 1783; the relationship between the activities of artists in the "new" territories and the development of the landscape genre in Russian art. Socio-cultural, historical, genetic, typological methods, artistic and stylistic analysis, and the principle of historicism are used. The study of Crimean landscapes as a heritage reveals new facets in the history of Russian culture and art. At the end of the 18th century, the Russian landscape genre was just emerging, and the activity of painters in the annexed territories contributed to the development of the Russian national landscape. The author's main contribution is to study the Crimean theme in Russian painting in a broad context, to develop the stages of development of the genre of the Crimean landscape, and to establish continuity in the work of artists. The novelty lies in the approach of studying Crimean landscapes in the paradigm of cultural heritage, in the author's periodicals, in the formulation of prerequisites and factors for the appearance of landscape painting in Russia based on domestic material.

Keywords: socio-cultural context, historical and genetic method, interpretation, cultural heritage, M. M. Ivanov, I. K. Aivazovsky, landscape genre, Crimea, interdisciplinary research, Russian painting

Abstract: The subject of this article is the formation of ideas about Russia in the public consciousness of France. The author analyzed the works of European authors who visited Russia in the period from the XV century to the middle of the XVIII century. The history of the formation of the image of Russia, viewed through the prism of the concept of the Other, interpreted in a dialogical way, provides the richest material for analysis. The concept of the "Other", interpreted in accordance with the Russian philosophical tradition as an equal collective subject of intercultural and artistic dialogue, which is identified and constructed as the Other in the process of correlation with the existing I or We. The origins of assessments of Russian reality later had a significant impact on the image of Russia. When writing the work, a set of general scientific and special historical, cultural, art criticism, historical and systemic methods of scientific search was used. The study was conducted taking into account the principles of historicism and objectivity, which allowed to recreate the picture of the development of ideas about Russia in France. The author of the work concluded that the perception of Russia, like no other European country, was subject to mystification, on the one hand, due to the scarcity and subjectivity of information about it. On the other hand, the acceptance of such a large and unknown country and people was seen as a threat to Europe. The results obtained make it possible to supplement and clarify the characteristic features of relations between peoples and trace the origins of misunderstanding. The materials in this article are of great interest for the study of intercultural communications between Russia and France. In conditions of disruption of the development of cultural dialogue, it is worth paying attention to the identification of new vectors in the interaction between countries. In line with what has been said, this work seems significant and relevant.

Keywords: Russian-French relations, Russia- France, the image of Russia, europeanization, French journalism, traveler’s sketches, French people about Russia, XVIII century, cultural dialogue, cultural relations

Abstract: With the development and progress of society, people's awareness of the need to protect traditional culture is also increasing, and traditional patterns are receiving more and more attention. This paper presents the history of the development and significance of traditional patterns and discusses their use and influence in contemporary Chinese vestimentary fashion. Traditional Chinese patterns are one of the components of Chinese traditional culture. Ancient societies have long had patterns and motifs that are very well represented in various jewelry, clothing and other items. And these patterns not only have aesthetic value, but also have deep symbolic and historical significance. Therefore, the interest of this study lies in the understanding of Chinese traditional patterns and their utilization in contemporary Chinese fashion. To investigate Chinese traditional patterns, the paper applies the following research methods: descriptive method, historical method, comparative method and typological method. The novelty of this paper lies in examining the reasons for the preservation and innovation of Chinese traditional patterns in contemporary Chinese vestimentary fashion, and considering how Chinese designers combine these patterns with contemporary fashion aesthetics. Thus, traditional Chinese patterns in design are an important part of Chinese traditional culture; they are not only decorative, but also carry rich cultural connotations and symbolism. The use of these patterns in Chinese modern vestimentary fashion is very popular. Chinese designers will innovate these traditional Chinese patterns and combine them with modern fashion to create a new style of clothing - Chinese style. This move not only preserves and promotes Chinese culture, but also promotes cultural exchange. It is also the epitome of the globalization of culture.

Keywords: history, innovation, tradition, national culture, design, fashion, pattern, culture, vestimentpren fashion, China

Abstract: The relevance of the research is associated with the emergence of a new approach in aesthetics, which can contribute to the development of a "body-oriented" design theory, as well as the formation of promising design concepts. The problem of the research lies in the low degree of formalization of the "embodied approach" in the domestic "science" of design. The authors of the study note that in the West, the most well-known trend within the framework of the "embodied approach" in aesthetics today is the so-called "somaesthetics" of the American philosopher R. Shusterman, in the article they describe the influence of this particular direction on the development of modern design thought. In the framework of the study, "somaesthetics" is considered as a "design project" aimed at transforming a person's body-mind, or his soma, so that through a developed "sensory receptivity" he can open up to a new aesthetic experience in everyday life. In the course of the study, the authors of the article come to the conclusion that "somaesthetics" acquires special relevance in environmental design and digital design, aimed at creating an exciting experience of human interaction with technology. Since the ultimate goal of "somaesthetic design" is the "somaesthetic transformation" of a person, the authors of the article bring it closer to Japanese design. However, according to the authors, for oriental designers it is important to understand the "one-bodyedness" of a person with the world, while in the context of "somaesthetics" the world is thought of as a source of fulfillment of human desires. In the design plan, this leads to the fact that the "oriental" design focuses on returning the consumer to his "somatic consciousness", while in the framework of "somaesthetic design" his task is to become aware of his body.

Keywords: Jasper Morrison, Naoto Fukasawa, concept of Super Normal, Kristina Höök, multisensory architecture, Richard Shusterman, somaesthetic appreciation design, somatic consciousness, somaesthetic design, soma design

Abstract: The subject of this article is the influence of generative neural networks on the film industry. The Sora neural network, used to generate video content based on text prompting queries, is considered as an object of research. The author of the article discusses the potential application of artificial intelligence in the development of new approaches to visual narrative and also addresses issues related to authorship and creativity. The article reveals the prospect of including prompts as a new element of film language, which can radically transform the film industry, providing directors and screenwriters with unique tools to implement their creative concepts. The author argues that this approach will allow cinema figures to experiment more and showcase their creativity, overcoming previous economic and technical limitations. The article analyzes experiments with artificial intelligence in cinema. The works "Blink of an AI" and "Thank you for not answering" are described, differing in the "grotesque" quality of visualization and the presence of digital artifacts characteristic of early versions of neural networks. It is also emphasized that in the context of rapid technological development, it should be expected that these shortcomings will soon be overcome. This work is devoted to the problem of the relationship between artificial intelligence and human creative thinking in creating audiovisual content. The author concludes that the integration of artificial intelligence into the process of creating cinema opens up new opportunities for experimentation in the film industry, transforming not only the methods of creating content but also the very idea of film language. At the same time, it is emphasized that for the harmonious development of the future of cinema, it is critically important to find a balance between human creativity and machine algorithms, ensuring the protection of intellectual property and the ethical use of new technologies.

Keywords: digital culture, generative neural networks, new media, film language, prompt, Sora, generative art, digital cinema, artificial intelligence, neural networks

Abstract: This article provides a semiotic analysis of flora in twelve paintings by the Mexican primitive artist Frida Kahlo, and also examines a number of factors that influenced the appearance of certain plants in her works. The purpose of this study is a detailed analysis of the plants depicted in the selected paintings by Frida Kahlo and an attempt to interpret the symbolism of these plants based on information about the artist's life, her knowledge and research in the field of biology and the history of pre-Columbian civilizations. The authors of the article set themselves the task of demonstrating the non-randomness of the choice and the deep meaning of each plant in the paintings of Frida Kahlo, for whom the hobby of botany was more than just a hobby. The methodological basis of this work is the methods of critical and comparative analysis. The scientific novelty lies in the little-studied nature of this aspect of the Mexican artist's work. The authors of the article for the first time conducted a detailed analysis of the plants depicted in Frida Kahlo's paintings. Having studied the artist's paintings depicting plants, it was possible to identify three main themes of Frida Kahlo's creativity: fertility, the unity of man with nature and duality (the connection of a woman and a man, life and death, light and darkness). As a result of the research, the authors of the article come to the conclusion that all images with plants, even fictional ones, are a kind of self-portraits. A less obvious conclusion, due to the exceptionally narrow focus of the topic, was the identification of Frida's rarely mentioned botanics hobby.

Keywords: death, life, nature, human, duality, primitivism, Latin America, flora, visual semiotics, Frida Kahlo

Abstract: The author examines the most important principles of the pictorial interpretation of the image of St. Jerome in the works of the greatest Venetian Renaissance artist Titian Vecellio (circa 1478–1576). The main attention is paid to the consideration of the iconography of the plot "St. Jerome in the Desert", to which Titian addressed at least six times during his entire career. Of particular interest is the analysis of various plot versions formed on the basis of the original iconographic scheme, and the search for the reasons why they arose. These include two engravings based on drawings by Titian, as well as paintings from the Louvre (early 1530s), the Brera Gallery (1557–1560), from the Escorial and the Thyssen-Bornemissa Museum (about 1575). Addressing this topic also required studying the background of the development of the plot "St. Jerome in the Desert" at the Venetian art school. The study of Titian's works in this article is based on the use of formal stylistic analysis techniques and the iconological method of interpretation. The main importance in the context of the topic is the analysis of the iconography of the artist's paintings. Their study from such positions opens up new ways to explore a number of features of Titian's creative method. In Titian's early paintings, the determining moment in choosing one or another iconographic solution was based usually on aesthetic considerations related to the peculiarities of the coloristic solution or the construction of a spatial composition. In his later works, Titian paid much more attention to the development of certain aspects of the semantic meaning of the plot. Of great importance in this regard is the interpretation of individual details that can emphasize one or another aspect of the pictorial content (for example, the image of an open book in "St. Jerome" from the Escorial). They deepen its semantic meaning, revealing additional facets in the author's understanding of the image of St. Jerome. A thorough iconological analysis of such details helps to establish the points of contact between the artistic idea of the painting and the main trends in the spiritual life of the Late Renaissance. Of particular interest are the references in the painting from the Escorial to the ideas of the Reformation, which have not yet been noted in the scientific literature about the Venetian artist.

Keywords: manierism, humanism, style, iconography, Saint Jerome, Titian, painting, Venice, Renaissance art, Reformation

Abstract: The relevance of the research is justified by the need to develop a multidimensional space of understanding in the field of "body-oriented" design, involving both Western and Eastern designers. Within the framework of the article, the authors turn to the phenomenological "theory" of architecture as the most internationally influential "body-oriented" approach, emphasizing, however, that a phenomenological "theory" cannot be built exclusively on the Western model. The problem of the study lies in the insufficient degree of reflection of culturally determined differences in the phenomenological "theories" of architecture: at least two – Western and eastern, based on a fundamentally different understanding of physicality. The goal is to establish a difference in the understanding of physicality by Western and Eastern designers, to take a step towards a comprehensive understanding of the "space of possibilities" for the development of "body–oriented" design. The authors of the study compare the approaches of Western and Eastern architects in two directions: interpretation of the experience of moving a body in space and attitude to the material. In the course of the study, the authors of the article point out that the difference in the understanding of physicality between Western and Eastern architects lies in the fact that in the West physicality is understood as the "embodiment" of a person, and in the East as the "communication" of a person with the world. From the point of view of interpreting the experience of moving a body in space, the authors of the article conclude that the "Western" approach is aimed at intensifying the proprioceptive experience and forming a sense of "flow" of space, and the "Eastern" approach is aimed at creating conditions for a person to live a personal experience of traveling through mountains and a sense of "one–bodyedness" with the world. From the point of view of the attitude to the material, the authors of the article come to the conclusion that the "Western" approach tends to the slow living of sensations in one's own body (flesh) in the process of its interaction with the environment, while the "Eastern" approach is associated with spontaneity, which is a consequence of the developed human ability to "resonate" with the world (we are talking about an empty body, or a body as a "place of non-being"). From the point of view of the development of "body-oriented" design, the authors of the study note the attractiveness of the "Western" approach to design in today's rapidly changing world, however, according to them, such an approach requires full dedication from the designer.

Keywords: Tadao Ando, Juhani Pallasmaa, Wang Shu, Steven Holl, phenomenological architecture, corporeality, body-oriented design, parallax, guanxiang, shintai

Abstract: Decorative and applied arts began to play a significant role in Soviet cultural discourse during the Khrushchev "Thaw". In the art of porcelain, the Thaw manifested itself in the active creation of shapes, updating the themes of paintings, and the development of an innovative artistic language such as decorative minimalism. In the article, the researcher aimed to analyze the issues of shape design in Leningrad porcelain of the Thaw period. Its relevance is due to research and curatorial interest in the heritage of this era. The lack of specialized works devoted to the shapes of porcelain products determines its novelty. The object of the study is the shapes developed by sculptors of the Leningrad Lomonosov Porcelain Factory in the second half of the 1950s – 1960s. The topic of the study is the artistic originality of the author’s shapes of this period. The researcher used comprehensive methodology. The author summarized that organic design with fluidity and a sense of inner life of shapes was dominating trend in the late 1950s – early 1960s. In the second half of the 1960s, the functionalist rigor and clarity of forms prevailed in the shape design. Each of the sculptors developed their own individual style within the framework of general trends. The shapes of vases and services created by sculptors regularly received awards at international exhibitions and favorable reviews in the press. The artists actively used them for paintings in the “modern style”. The aesthetic trends developed by Leningrad Lomonosov Porcelain Factory sculptors were also in demand at other enterprises. Contemporary porcelain artists use a number of Thaw shapes for their original compositions. In addition, the principles of shape design the period of the “second modernism” remain relevant for porcelain of the 21st century.

Keywords: organic design, functionalism, modern style, Leningrad Porcelain Factory, shape design, Thaw, porcelain, Soviet decorative and applied art, Anna Leporskaya, Vladimir Semenov