Abstract: The subject of the study is the semantic content of cultural diplomacy. The relevance of addressing this topic is determined by the specifics of the current stage of development of international relations, when cultural diplomacy finds itself in a situation of sharply narrowed opportunities amid the intensification of counterproductive strategies of “cancel culture.” The purpose of the work is to trace the features of the disclosure of values and meanings of the period of recent sociocultural turbulence. The objectives of the study are 1) to clarify the nature of the attitude of representatives of creative professions to the political and ideological realities of the time; 2) highlight the difference between the dichotomies “political / non-political” and “official / unofficial”; 3) establish the significance of each part of these dichotomies in solving the problems of cultural diplomacy; 4) to trace theoretical and practical approaches to the components of these dichotomies on the part of representatives of artistic culture in the light of the paradigm of meaning-making as a key value of culture; 5) determine the possibilities and boundaries of interaction between representatives of creative professions and the political context of their activities. The research methodology is based on an integrated approach based on data from cultural history, cultural anthropology, and political psychology within the framework of the theory of intercultural communication. The key method used is categorical analysis, as well as discourse analysis, which allows us to trace blocks of value preferences, taking into account the characteristics of current historical and cultural processes. The novelty of the study lies in identifying the possibilities and boundaries for the development of cultural contacts in an era of current turbulence (primarily political), when, against the backdrop of the intensification of “cancel culture,” the possibilities for such interactions are reduced.

Keywords: artist, philosophy of culture, The meaning of the word, intercultural communication, international relations, cultural diplomacy, cultural anthropology, culture, art, values

Abstract: The subject of this study are the architectural and urban planning projects of the scientific town of Pushchino of the USSR Academy of Sciences, developed in the second half of the 20th century. It focuses on high-rise accents planned in the master plans from the 1950s to the 1980s, which, though never realized, played a crucial organizing role in the city's developmental compositions over the years. These "paper" projects significantly influenced the actual architectural ensemble of the city. Specific changes in the creative concepts are correlated with personnel shifts within the team that developed the projects for Pushchino. The dynamics and direction of architectural searches are considered within the broad context of the history of Soviet architecture and are compared with global processes and the positions of architectural theorists and philosophers. The research employs a formal and comparative analysis method, structured historically to segment the creative process into periods that reflect both the subject of the research and the broader historical and architectural context of the era. The scientific novelty of the research lies in the comprehensive analysis of numerous urban planning and architectural projects, gathered through extensive research in state and personal archives. This allowed for the first time to consider the work of architects on the planning projects of Pushchino as a dynamic process, revealing changes that occurred at each of its stages. Through the analysis of the development of “paper” dominants, wandering from project to project, changes in the global urban planning concepts of the city were traced. Consequently, the article provides insights into the development of urban planning in Pushchino, viewed through the lens of high-rise accents. It also paves the way for further research into other aspects of the process, contributing to a more comprehensive and profound understanding of urban architectural development.

Keywords: archival research, unrealized projects, urban planning, 20th century architecture, Soviet architecture, master plan, Academy of Sciences of the USSR, GIPRONII, academic town, Pushchino

Abstract: The problem of the immanentization of the religious ideal is explicated in the context of cultural history as a synchronous "movement" from idea to ideal and from ideal to idea. In the process of realizing the idea of the transcendent within the framework of the Christian tradition, its immanentization takes place – reduction to ultimate forms that can be considered based on the intuition of potential infinity (ancient tradition) and based on the intuition of actual infinity (Christian philosophy). The intuition of actual infinity is actualized in the eschatological relation to the Other, and the intuition of potential infinity in the principle of hierarchy, universal for the Christian tradition. The synthesis of these intuitions, with the predominance of one of them, is a tragedy for the Christian tradition, which determines the peculiarities of the spiritual searches of thinkers. The reflection of this tragedy in the works of Alexander Schmemann suggests a return to the "attitude" characteristic of early Christianity for the future, correlating with the preserved tradition based on hierarchy. At the same time, the philosopher's spiritual quest reflects the process of devaluation of the hierarchical principle in Christian culture, stimulating the inversion of the hierarchy, when transcendence can be realized through low-ranking humor and foolishness. The work uses the method of historical and philosophical reconstruction, which allows to identify the features of the interaction of the transcendent and immanent in certain philosophical and religious concepts. The synchronic method explicates the mutual correlations between philosophical and religious concepts belonging to the same historical period. The diachronic method makes it possible to actualize the features of the immanentization of the religious ideal in the work of thinkers belonging to different historical periods. The scientific novelty of the research lies in the combination of reflection on the relationship between the transcendent and the immanent, carried out on a rational basis by European philosophy and the study of the experience of transcendence described by specific Christian writers and thinkers (in particular St. Augustine). Thanks to this combination, the study realized the possibility of considering the relationship of the transcendent and immanent in the history of European philosophy using the logic of the symbol by A.F. Losev, when the structure of the interaction of the symbolized and the symbolizing is extrapolated to the correlation of the transcendent and immanent, and the scope of the concept of "transcendent-immanent" becomes equivalent to its content. The process of immanentization of the transcendent is considered simultaneously from the outside (from the point of view of the dialectic of concepts) and from the inside from the point of view of changing the paradigm of religious life in culture, which allows us to take into account its features.

Keywords: Christianity, Life, synthesis, hierarchy, devolution, immanentization, idea, ideal, reduction, culture

Abstract: The object of research in this article is the motif of caryatids in the decoration of the Forum of Augustus. Along with other elements, it is repeated in the ensembles of the cities of Roman Spain and region of Campania. It is believed that the August Forum in its decorative program broadcasts the most important ideological markers of the Early Empire era. In particular, the caryatids decorating the attic of the portico are reduced replicas of the famous figures of the Erechtheion. Such a reference is connected with the glorification of Rome's power over Greece in the reproduction of its figurative system. The subject of the study was the process of transformation that occurs with the motif of caryatids in non-classical ensembles. Following the iconographic, stylistic and semantic changes in the caryatid motif in the ensembles of the cities of August Emerita, Tarracon and Puteola, the author suggests possible causes and options for the transformation of these decorative elements. The article focuses on the possible causes of such a transformation, and also attempts to clarify the concept of the "Forum Augusti model", which is found in the research literature in various meanings and variants, through the analysis of a single element. The lack of a single definition of this phenomenon makes it possible to infinitely expand the range of monuments that could be created in imitation of the metropolitan prototype. The author of the article does not support this position, focusing on a few ensembles in which not only the same iconographic schemes occur, but also the logic of the decorative system is preserved. As a result of the research, it was possible to clarify the concept of the Forum Augusti model, which implies not so much the reproduction of the iconography and stylistics of the original.

Keywords: political propaganda, antique imagery, semantics, Augustan art, Augustan forum, architectural typology, stylistics, iconography, political ideology, ancient Roman architecture

Abstract: This article examines the history of denominationalism – the division of Protestantism into a multitude of independent religious associations, freely competing with each other. This approach to typologising religious associations, initially adopted for Protestant communities within the United States, has become a global phenomenon. Since the early 1980s, there has been a vigorous debate in the sociology of religion about the contemporary meaning of denominations. There is a growing number of independent churches that do not wish to be associated with any of the Protestant denominations; megachurches are leaving denominations or trying not to emphasise their affiliation with any particular denomination; some megachurches and church organisations are growing into a transdenominational evangelical movement with worldwide influence. The article is based on an analysis of the work of sociologists of religion on the issue of denominationalism in Protestant organizations, ranging from Richard Niebuhr to researchers drawing on contemporary statistical data. The existing congregations that emphasize their denominational identity, none of them exist in a denominational isolated cocoon any more – worship practices and music, missional objectives and educational resources can be adopted from other non-denominational churches and trans-denominational evangelical movements. The very concepts of megachurch, independent church, and evangelical movement can be viewed as separate denominations. Using these terms, members of a congregation identify themselves as holding certain beliefs and engaging in certain practices in common with others around the world. The trend toward the emergence of independent churches is part of the new course of Protestantism – post-denominational Protestantism.

Keywords: Charismatic movement, Globalization, Pentecostalism, Evangelical movement, Megachurch, Transdenominationalism, Non-denominationalism, Denominationalism, Protestantism, Typology of religious associations

Abstract: The article explores a set of issues determining the synergetics of artificial cognitive systems: conditions for the realization of non-equilibrium stability of systems, synthesis options of artificial cognitive system, as well as mechanisms of self-organization of consciousness formed on its basis. Artificial cognitive systems are proposed to include not only artificial intelligence systems imitating human thinking, but any multilevel systems that perform the functions of recognizing and remembering information, decision-making, storage, explanation, understanding and production of new knowledge. The defining property of a cognitive system is the ability to make decisions. It is shown that the content of the cognitive system is consciousness, interpreted within the framework of the information concept as an information environment in which the extended model of reality is realized. Consciousness can be qualified as an open dynamic system. The state of such systems is determined by the processes occurring in them (thought processes – in the case of consciousness). For such systems, called "living", there is a realization of mechanisms of stable disequilibrium. The implementation of an artificial cognitive system is technically carried out on the basis of an artificial neural network, and organizationally – according to the actor or reactor model. Self-organization processes determining the synergetics of consciousness are a special case of the extreme principle, which is a consequence of the law of excessive reaction of supersystems, regulating the existence of dissipative systems at the expense of supersystem resources. The initiation of self-organization of consciousness is carried out by the process of thinking, which, due to the non-equilibrium stability of consciousness, does not stop. Thus thinking can be interpreted as a process of varying system parameters in search of suitable ones for extended modeling of reality.

Keywords: dissipation, supersystem, system, extreme principle, stable disequilibrium, cognitive system, consciousness, self-organization, synergetics, reality model

Abstract: The subject of the research is the conceptualization of sound as the embodiment of subject-object interaction, prioritizing one of the sides of the cultural and natural world. The article attempts, based on the analysis of two opposing discourses about sound – subject-oriented and object-oriented – to present the field of sound research as a space of continuous questioning, the image of which reflects any changes in ontological paradigms. The subject-oriented approach to sound is considered as a conceptual successor to the "linguistic turn" in the humanities. In this context, sound is understood as a noumenon, which is fundamentally inaccessible to direct comprehension and appears to us only in the form of a model of the sound already symbolically ordered and marked by a linguistic subject. The object-oriented approach is rooted in the "ontological turn", which received wide resonance in the 20th century, and, on the contrary, interprets sound as a force regardless of the subject's being, preceding any cultural and linguistic unfolding as a virtual sub-base.  Comparative analysis and contextual analysis are used as research methods. Comparative analysis is necessary to compare opposite approaches to the nature of sound, to identify similarities and differences that are not explicitly fixed. Contextual analysis clarifies key concepts and ideas within specific texts and the cultural and social conditions in which these texts were created. Having explicated the essence of both approaches and identified problematic aspects in each of them, the author suggests turning to the middle way, synthesizing materialistic and constructivist tendencies. This "materially symbolic" approach points to the illegality of the traditional explication of the concepts of subject and object, taken in a universalized and abstract way, and states the need to revise these terms through the prism of cultural and political determinants that unite knowledge and being, in particular from the standpoint of feminist and racial epistemologies. This approach focuses our attention on the bodily practices of producing knowledge and suggests taking into account cultural associations arising from the material life of sound. The main conclusion of the article is that we must critically rethink the concepts of the subject and object of sound research from the point of view of situational, historically conditioned material and social practices in order to get closer to understanding sound as such.

Keywords: feminist epistemology, representation, virtual, auditory culture, onto-epistemology, object-oriented ontology, new materialism, linguistic turn, sound studies, sound

Abstract: The object of study in the article is the Russian culture of the post-Soviet period. The subject of the study is the well-known rock band "Gaza Strip", which is considered as a cultural phenomenon that has influenced Russian culture as a whole. This band was created by the author-performer Yuri Klinskikh (creative pseudonym – Khoy) in the late 1980s in Voronezh. The band soon became super-popular, with virtually no media promotion. The band ceased to exist in 2000 due to the death of its leader. But as shown in the article, Khoy's work has not been forgotten, it has largely grown into Russian popular culture and is still in great demand. The author makes an attempt to understand the reasons for this. The research is based on the study of numerous newspaper notes about the band, interviews with Yuri Khoy, books about the "Gaza Strip", lyrics of the band, as well as on the author's own memoirs. The novelty of the research lies in the fact that for the first time the creativity of the "Gaza Strip" band was subjected to philosophical reflection. An attempt has been made to understand the reasons for the popularity of this band and the demand for its work a quarter of a century after the death of its leader. Several reasons have been identified that determined the success of the band. The music of the Gaza Strip has found a completely new niche in the Russian music market. Due to its expression, it meets the psycho-emotional needs of adolescents. The use of obscene vocabulary contributed to the scandalous fame. At the same time, the swearing in most cases serves as an organic means of reflecting the social environment in which the lyrical hero of Hoy's songs is located. Apparently, the main ingredient of the band's success is the widest range of topics covered in the songs, as well as the presentation of material understandable to a wide audience, including through humor. At the same time, despite the obscenities in the vocabulary and artistic images, the humanistic pathos is obvious in the songs of the band. The combination of the primordial folk linguistic and cultural elements, the bearer of which was Yuri Klinskikh, with fashionable musical trends gave rise to a curious phenomenon that exists in three dimensions at once – counterculture, grassroots, folk culture and "big", nationwide mass culture.

Keywords: The nineties, Russian rock, rock music, popular culture, counterculture, punk rock, Yuri Khoy, Yuri Klinskikh, Sektor Gaza, show business

Abstract: The article analyzes Yuka Hui's concept of the transformation of modern technology. He is a well-known Hong Kong philosopher of technology, well acquainted with both Western and Eastern (Chinese) philosophy. He is an obvious follower of Martin Heidegger, who proposes to consider language and art, but not modern, but authentic, given in historical reconstructions, as a means of transforming technology. Specifically, Hui considers Chinese reconstructed art and worldview to be the tools of such a transformation. To convince readers of this, both Western and Eastern, Hui, on the one hand, turns to the analysis of Chinese Shan Shui painting, which he considers an example of "cosmo-art", on the other ‒ to Western concepts of second-order cybernetics, the concept of autopoiesis, studies of individuation by the French philosopher J. Simondon. The author shows that Hui's thinking and discourse are hybrid, including, on the one hand, cultural logic, on the other ‒ cybernetic and autopoetic, on the third hand, modernized ancient Chinese logic. Hui connects them quite organically, although for a Western reader, such logic still looks contradictory. Especially when it comes to understanding the third logic, when Hui, for example, comments and clarifies ideas about the Tao, pointing to such signs as invisibility, obscurity, a combination of natural and anthropological properties (Heaven and the virtuous path). At the end of the article, the author discusses whether Hui managed to outline an effective solution to the problems posed by him and Heidegger. He examines the arguments for and against and tends to conclude that the proposed solutions look dubious, in the sense that they are almost impossible to implement. In addition, the author draws attention to the fact that the interpretation of modern technology as a "delivery" is clearly insufficient to solve these problems. In reality, modern technology is a more complex phenomenon; in the philosophy of technology, in addition to delivery, other aspects are considered in it (engineering, technology, technical environment, technosocial large projects, the Internet, robotics, AI). These and other considerations, especially regarding the conditions for the implementation of projects such as those proposed by Hui, incline the author to a pessimistic point of view about the transformation of modern technology.

Keywords: realization, project, salvation, mind, The Tao, modern, space art, space technology, technic, life

Abstract: This study analyzes the mechanisms of generation and subsequent dissemination in the social space of modern society of emotions that accompany those individual acts of acquiring goods and services, which, in turn, themselves become the object of constant manipulation by the marketing services of the sellers of these products. Particular attention is paid to the philosophical, cultural and psychological features of the implementation of specific mechanisms for manipulating individual motivation, perception, consciousness of a potential consumer. In addition, the conclusions of the study analyze the special role of emotional accompaniment of a buyer who has committed an act of acquiring something, which allows you to effectively implement established marketing strategies and techniques throughout the entire society of mass consumption, by organizing control over the targeted dissemination of information about emotional states that arise in the process of consumption at the individual level. Manipulation of the motivation, perception and consciousness of the buyer occurs mainly through emotions. In order for the manipulation process to be effective, motivation and rationalization of consumer behavior must be generated in society massively and on an ongoing basis. An experienced manipulator has the skills to read the emotions of the buyer, based on the assessment of which, then he purposefully creates the illusion of a common interest, preferences, lifestyle for the buyer. The manipulator knows that it is not so much the product itself that is being bought, as the ritual of its acquisition entirely together with the entire palette of emotions inherent in it.

Keywords: emotionalization of social space, emotional marketing, emotional capitalism, emotions, manipulation, emotional work, society of impressions, consumer culture, mass consciousness, everyday worldview

Abstract: The object of the study is the works of the American doctor, journalist, marathon runner, popularizer of running and thinker George Sheehan (1918-1993), first introduced into scientific circulation by Russian researchers of the philosophy of sports: "Running and being: a complete experience" (1978) and "The main thing with Sheehan: 30 years of running wisdom of the legendary Dr. George Sheehan" (2013). The subject of the study is the cultural content of amateur stayer running, its personality-creating potential, explicated from these works. The achievement of the cognitive goal is connected with the comprehension of the life path of Dr. Sheehan, his philosophical authorities, anthropological views, the phenomenology of running experience, as well as the social effect of the ideas he propagated. Recognized as the founder of the emerging philosophy of running, J. Sheehan considers amateur stayer running as an activity during which a qualitative transformation of the athlete's personality occurs, associated with the possibility of achieving religious and mystical contact with the primordial and deep dimensions of his being, providing creative impulses and insights. Using the example of his own life, the American researcher describes the bodily determined basic contradictions of the aspirations of an amateur stayer and the social environment, and also sees in running activity and the effects generated by it the foundations of their conjugation. Stayer running is understood by Dr. Sheehan as an environment of moral and volitional formation of an individual, aimed at comprehending his originality and affirming the personal meaning of existence, gaining ideological competence. The researcher fruitfully reveals the humanistic dimension of running on the basis of such concepts and existentials as "body wisdom", "game", "heroism", "running experience", "connection with the Absolute", "unique potential". Dr. Sheehan believes that the usual health-related arguments in favor of running are "pathetic ideas" compared to gaining the ability to live at your true level, to hear the "call of being" addressed to the individual, to achieve your "original splendor", to become the best version of yourself.

Keywords: running experience, existence, game, personality, sports philosophy, amateur sports, humanism, stayer run, creation, meditation

Abstract: The article is devoted to the study of the special connotations of the word "dog", which have been formed in the history of culture and are inextricably linked both with the Christian, biblical context and with the collective memory of pre-Christian folk traditions. The article traces the ambivalence of the dog's image in theological, cultural and vernacular aspects. The ambiguous interpretation of biblical stories related to the dog is considered, giving rise to the inconsistency of its image in Christianity, which has deep roots, going back to pre-Christian beliefs, namely, Judaism and Slavic paganism. The ambivalent appeal to the image of a dog can also be traced in Christian art, which was expressed in Orthodoxy in the zooanthropomorphic depiction of one of the most mysterious saints, St. Christopher, unusual for the Christian tradition. On the basis of biblical stories, as well as everyday speech, the author analyzes the special connotations of the word "dog", which influenced the formation of a special ambiguous image of this animal. In general, it can be argued that the ambiguity, and often the inconsistency of the image of a dog in Christianity has deep roots, which can be seen in pre-Christian beliefs: Judaism and Slavic paganism, where a dog was usually perceived as an unclean animal or a creature with demonic qualities. At the same time, the dog's devotion and being near a human contributed to the fact that it eventually appears next to Christian saints, is accepted by them, and becomes one of the favorite pets. Nevertheless, the tradition of not accepting a dog as an unclean animal still persists to some extent in everyday life, taking root more among the clergy than among the laity.

Keywords: An unclean animal, a pure animal, culture, image, Judaism, orthodoxy, christianity, The dog, dog, tradition

Abstract: The article is devoted to the study of Soviet and Russian monumental sculpture in historical dynamics, namely: in the period from the 1920s to the beginning of the XXI century. The aim is to determine the degree and nature of the influence of political propaganda and agitation on the production of monumental sculpture throughout the existence of the USSR and in post-Soviet, in particular in modern Russia. It is known that this type of art, due to its essential characteristics, such as monumentality, ideology, historicity, most fully and concretely reflects reality, that is, "physically, bodily and three-dimensional" (A. F. Losev). Such works are able to embody and express the contradictions of socio-cultural transformations and can even participate in an attempt to resolve them, naturally, by artistic means. The methodology is based on the principles of cultural and hermeneutic approaches combined with descriptive and comparative methods used to analyze works that were part of the everyday life of Soviet and Russian citizens and studied for ideological content. Interdisciplinary, environmental, historical, cultural and sociocultural approaches were used, as well as tools for the art criticism analysis of artistic and figurative characteristics. The analysis of the evolution of Soviet and Russian monumental sculpture makes it possible to clearly characterize the specifics of each of the stages of this process, including the object of study – monuments of the XX – early XXI century, characterized by a variety of forms in the positioning of certain positions of state power. The object of this study is the nature of the influence of political propaganda and agitation on the production of monumental sculpture in the Soviet Union and modern Russia, as well as in identifying the semantic content and artistic solutions of such sculpture at the present stage as a certain result of the evolution that the "big ideas" of the Russian state have undergone. The materials were works of Soviet and Russian monumental sculpture, as well as scientific research by Russian cultural and art historians.

Keywords: artistic and figurative features, ideological content, political propaganda, the monumental ensemble, monument, Russian sculpture, the art of the USSR, Russia, Soviet ideology, monumental sculpture

Abstract: The object of the study is the design of tea gift packaging in China. The subject of the study is the problem of developing the design of tea gift packaging in modern Chinese design. During the consideration of the topic, such issues as the degree of study of the issues under consideration, the general situation in the field of developing such a packaging design at the present stage, the dynamics of the development of tea gift packaging design in connection with socio-cultural specifics, the latest approaches of Chinese specialists to determining the design features of tea gift packaging are traced. In addition, the analysis of a number of samples is given, which allow us to illustrate the innovative design solutions of Chinese specialists and identify the main specifics of the Chinese approach to the development of tea gift packaging. The influence of traditional national aesthetics is revealed. The techniques of Chinese designers are considered, thanks to which the design provides a semantic connection between the packaging and the contents, and also helps to display the artistic intent of the author. The study involves the systematization of available information on the theory and history of packaging design, including gift packaging, of tea in China. The work uses traditional methods of art criticism and historiographical analysis, as well as socio-cultural and functional analysis. The scientific novelty of the study is due to the fact that for the first time a complex of issues related to the problem of developing the design of tea gift packaging in modern Chinese design is being studied. Individual samples of modern Chinese tea gift packaging design are being introduced into scientific circulation. The author's main contribution to the research of the topic is to identify the main specifics of the Chinese approach to the development of tea gift packaging, as well as a number of innovations developed by Chinese designers. The main conclusions of the study: the design of gift packaging in modern Chinese design is positioned as the main means of expressing an artistic idea, as a "canvas" on which the designer creates an author's work of art. The artistic idea – not the product itself, but its artistic interpretation – entirely determines the concept, functionality, and design features of the packaging. To implement it, designers often neglect the global trend towards environmental friendliness, as well as reducing the use of excess packaging. The approach of Chinese designers in this sense demonstrates a fundamental difference from foreign practice.

Keywords: functional, The concept, artistic intent, design development, gift packaging, designing, tea packaging, packaging design, Chinese design, environmental friendliness

Abstract: The object of the study is a screen costume in cinema as an element of the visual and artistic-figurative system of a Chinese film in the genre of "wuxia". The subject of the study is the problem of the formation of historical costume in the films of Wuxia, the historical and cultural origins of the costume and the peculiarities of interpretation in various films of Wuxia. Such issues as the degree of study of the topic under consideration and a number of paintings from the late 1970s to the 1980s are analyzed. The analysis of the works reveals the specifics of the costume in Wuxia films, its relationship with traditional Chinese theater. Special attention is paid to the analysis of examples of the use of color in a costume as an expression of personality, social status and other characteristics of a character. The questions about the methods of displaying gender identity in a suit were raised. The methodology of the research consists in using a systematic approach at the intersection of art criticism, aesthetics, art practice, painting, film studies and film criticism. A systematic method, a historical and cultural method, and a system-structural analysis are used, which made it possible to consider the costumes of the characters as an integral part of the artistic concept of films by Chinese directors. The work provides a comprehensive study of the screen costume as a visual and expressive means, which helps to create a film image in the context of an artistic and imaginative solution to the subject-spatial environment of a Chinese film using the example of the Wuxia genre. For the first time, the historical and cultural origins of the costume are established at the stage of formation of the genre in cinema. The interpretive techniques and principles of Chinese directors in the use of costume in Wuxia films of the late 1970s - 1980s are revealed. The interpretation of the costume in the works of various Wuxia film directors is largely consistent with the traditional principles of the Beijing Opera. The hero's costume is perceived as an important means of communication with the viewer, visualization of the social status, clan affiliation, personality and emotional experiences of the heroes. Chinese directors of Wuxia films generally adhere to realism in the depiction of costumes of a number of socially labeled characters: a warrior (for example, a samurai), a monk, etc. Weapons make up the most important part of the character's costume, the type of weapon is also clearly consistent with his image, expressing primarily the social status of the hero.

Keywords: the formation of an artistic image, costume movie, The history of the costume, cinema, interpretation, historical costume, wuxia, on-screen costume, artistic and imaginative solution, Beijing Opera

Abstract: The subject of the article, which is based on the concept and practical methodology of using the space of the museum exposition as an educational one, is the activities of the Moscow Memorial Museum "Losev's House". Particular attention is paid to the analysis of such educational resources of a new type offered by the Losev House as the Scientific Library, Online Lecture and Study Day at the Museum; within the framework of each of these forms, its general educational potential and advantages are analyzed in comparison with the traditional forms of teaching philosophy within the walls of an educational institution of a conventional type. Based on the results of the study, fundamentally new opportunities for increasing the effectiveness of philosophical education through the active formation of the educational motivation of a museum visitor or a learning individual through immersion and interactive interaction are identified and analyzed. In conclusion, an assessment is made of the educational activities of the "Losev's House" within the framework of the general socio-cultural genesis of the domestic society, its actual opposition to the multiple tendencies of cultural primitivization. The article concludes that, having a pronounced discursive character, philosophy, being presented in the educational space of the Losev House Museum, receives additional original opportunities for deploying this discourse. Represented in the educational space of the museum, philosophy, as an established system, from its content side, acts as a harmony and balance of its own objective and subjective aspects. A full-fledged philosophical education cannot be limited only to educational practices, it is necessary to include the upbringing of the culture inherent in philosophy and independence of thought. In the era of modern information culture, which implies the possibility of providing quick access to any necessary information, the emphasis in the learning process is shifting from the previous forms of its direct transmission to the formation of appropriate learning motivation, immersiveness and interactivity of new forms of learning provided by the educational space of the Losev House Museum.

Keywords: museum pedagogy, immersion, educational space, interactivity, museum exposition, teaching philosophy, philosophy as a discourse, Losev Alexey Fedorovich, the museum, intellectualization of society