Abstract: In 1939 and 1949 the museums and exhibit halls of the large and small Soviet cities held dozens of art exhibitions dedicated to the anniversaries of Stalin. Strictly aligned to the text of his canonized biography, they became an important element of jubilee celebrations, and simultaneously, a distinct culmination of visual representations of the chieftain, overcrowding the public space of every city of the country. The exhibitions resumed the results and outlined the future paths of development of the pictorial art of Staliniana. The article makes an attempt to review the common grounds the united the anniversary expositions, regardless their scale, presentability and venue. Special attention is given to correlation between verbal and visual texts, logics of structuring of a biographical narrative, methods of organization of dialogue with the audience, as well as forms of “dictate” over the creative process of Soviet artists. The source for this research became an extensive body of documents: brochures, catalogues, guides that accompanied such exhibitions and reflected their concept, logics, structure and communication objectives.  

Keywords: visual text, representation, anniversary, Stalin, leader, urban space, exhibition space, exposition, verbal text, biographical narrative

Abstract: In cinematic art, along with science, the ongoing processes at the intersection of several fields and spheres acquire greater significance. Cinematography synthesizes the expressive means of various arts. The subject of this research is the analysis of the key points of interrelation and mutual influence of Kyrgyz cinematography and music. The main goal lies in examination of the fundamental problems of synthesis of Kyrgyz cinematography and music by the means of historical-culturological artistic analysis of the national narrative films with detailed consideration of musical peculiarities. The examination of main boundaries in interrelation and mutual influence of Kyrgyz cinematography and music defines the scientific novelty of this article. The research results may be used in future articulation of culturological problems of Kyrgyz cinematic art, as well as in practical activity of the workers of Kyrgyz cinematographic industry. In the current conditions of the development of cinematography, examination of interrelation between Kyrgyz cinematography and music allows conducting a comprehensive analysis of polyfunctionality of the film score.

Keywords: movie function background, multifunctional film music task, domestic cinematography, film music, offscreen music, keynote system, synthesis of arts, dramatic role of film music, musical leittheme, cinema

Abstract: This article raises a question on the existence of representations on social nature as an ultimate ontology of social sciences. The complications that do not allow acknowledging such existence are being formulated. The author points at the modern alternative interpretations of ultimate ontology of social sciences – the representations on culture, self-developing systems with synergetic effects, sociality, interculture, etc. It is claimed that the concept of nature was introduced for determining the conditions for an effective practical action in scientific research. In order to clarify the perceptions of ultimate ontology of social science, the article discusses the peculiarities of social science and theory, as well as demarcation of the ideal objects, schemes, and models. As a result, the author was able to demonstrate that the traditional definition of social nature has virtually become obsolete, and is not efficient with regards to social sciences. It is offered to replace it with the categorical representations, which may be considered as the ultimate ontology of social sciences. However, it requires the new designation and characterization of the structure and essence of social sciences.

Keywords: ideal objects, schemes, engineering, practice, theory, science, ontology, sociality, concepts, knowledge

Abstract: This article is written within the framework of the topic “The Image of Lenin in Art Cinematography of Russia of the XX – XXI centuries”. The author explores the period at the turn of eras, from collapse of the Soviet Union in 1991 until the appearance of a new state of the Russian Federation on the world map. In the focus of attention are two films made in 1992, which subject to travesty the cult image of Lenin created by the founders of artistic Leniniana on stage and screen. Since the films were made at the turn of historical eras, there are attributes of a new artistic way of thinking – postmodernism, which are also analyzed in the article. The goal of this work lies in proving on the materials of films “Comedy of the Strict Regime” and “Village of Khlyupovo Separates from the Union” that the stylistic method of travesty is applied by cinematographers of post-Soviet period for debunking and ridiculing the cult image of Lenin created by the founders of secular Leniniana. The novelty of research is defined by the fact that these films have not been previously viewed from such perceptive. The article may serve as the foundation for future research on post-Soviet Leniniana. The author comes to the conclusion that it is not the persona of V. I. Ulyanov-Lenin to be debunked and ridiculed, but the image created by the masters of Soviet Leniniana. In ideological aspect, both films fall into the category of “iconoclastic”; the authors refer to the core problem of postmodernism – liberation of a person from totalitarian system, and display it in the ironic way.

Keywords: Vladimir Studennikov, Viktor Sukhorukov, genre, travesty, composition, cinema, leniniana, Lenin, Anatoly Vekhotko, Michael Grigoriev

Abstract: The subject of this research is the genesis and evolution of iconography of historical images in illumination of the medieval monastic maps of the world – mappa mundi. Such images on the maps visually depicted the process of sacred Christian history. The reflection of the sacred history was necessary for introducing the time element into the model of the world represented by mappa mundi map. This moment was important in light of representations on the existing continuity of the world and its history, due to inevitability of realization of the divine plan. For the analysis of iconography of historical images of the maps, the author applied the means of formal, iconological, iconographic and comparative analysis. The medieval illuminated map of the world is views as a complex information matrix, as well as a methodological tool for tracing the historiography of sacred history. The role of medieval maps mappae mundi in comprising the worldview perception of the era until the present remains insufficiently studied not only within the national, but also foreign science.

Keywords: medieval Europe, iconography of the world, sacred history, oecumene, christian historiography, ñhristian cartography, mappa mundi, Apocalypse, Last Judgment, Alexander the Great

Abstract: This article examines the phenomenon of “enlightened balletomanes” within the Russian ballet critique (XIX century), as well as peculiarities and key trends of their critique activity. Ballet critique, similar to the contemporary to it theatrical critique, recruited into its authors educated and literary gifted ballet enthusiasts. Observing ballet on the regular basis, the theatre habitues were turning into its connoisseurs; they payed detailed attention to dance technique and content of performances, its weak and strong sides, were able to describe a stage movement and a dance, as well as formulate their perceptions and assessments. Such experts, who also wielded a skillful pen, were called the “enlightenment balletomanes” in analogy with “enlightened theatregoers”.  Some of them used to be actors, journalist or dramaturgists, some even military officers or government officials, but being in a constant connection with the ballet theatre, they intergrew the profession of ballet peer reviewers and observers, contributing to the establishment of the professional ballet critique of its time.

Keywords: Bezobrazov Nikolai, Skalkovsky Konstantin, Plescheev Aleksandr, Ushakov Aleksandr, Khudekov Sergei., XIX century, Enlightened theatergoers, enlightened ballet lovers, ballet criticism, Svetlov Valerian

Abstract: This article examines the trends characterizing the development of Omsk architectural environment of the 1960’s – 1980’s. The unfolded transformations are views in relation to the historical-cultural context and historical-architectural process. The author analyzes the nationwide trends, as well as the regional specificity. The peculiarity of this research consists in drawing parallels between the architectural-artistic and historical-cultural processes. Attention is given to such questions as the shift in stylistic trends, residential construction, and erection of significant objects of public designation. Alongside studying the special scientific literature and sources, the author attracts the materials of city dwellers’ reminiscences that contain the information of reflective character for understanding their perception of ongoing changes within the urban environment. The acquired results allow characterizing the development of architectural environment of a large Siberian city (Omsk) during the Developed Socialism period (1960’s – 1980’s) in correlation with the historical-cultural and architectural-artistic contexts. The presented materials may be used in city planning decisions and development of conceptual framework of the regional cultural policy. The article is relevant for the specialists in the history of architecture and construction, as well as broad audience interested in history and cultures of their region.

Keywords: citizens perception, architectural ensembles, historical and cultural context, significant objects, stylistic features, Omsk, architecture, urban environment, Soviet period, construction of buildings

Abstract: The object of this research is kite festival in the Chinese city Weifang in Shandong province. The subject is the impact of graphic support of the kite festival upon heightening interest in the folk culture. The development of a new design concept of hosting a festival would increase its attractiveness and popularize traditions of the Chinese folk crafts. Having originated in China, the kites rapidly spread among the neighboring countries of Southeast Asia, and later appeared in Western countries. Kite festivals were used extensively – from entertainment events to translation of information, and even military purposes. The goal of this work consists in identification of peculiarities of the Chinese traditional folk art with regards to hosting public cultural events on the examples of the International Kite Festival in Weifang. The authors analyze the specificities of logos and event posters of the hosted festivals, and propose the criteria for the analysis of advertising and graphic information. The new design ad graphic support of festivals alongside the recommendations on arranging space for the festival are developed. The research results, designed tools and new concept of graphic support for holding a kite festival in Weifang would help to popularize Chinese cultural traditions and increase its tourism attractiveness.

Keywords: festival space, booklet, poster, graphic accompaniment, logo, culture of China, kite, festival, design concept, tourist appeal

Abstract: The goal of this article consists in determination of the relevant problems in preparation of students majoring academic solo singing in the Institute of Art of Jinggangshan University in groups of the educators representing vocal schools of Russia. The article examines the key aspects of the problems of Chinese vocal education in the context of European representation on the fundamentals of vocal skills. The study is dedicated to comparison of academic programs in the two leading universities of Russia and China, as well as detailed analysis of the curricula. The curriculum of Herzen State Pedagogical University of Russia focuses on the development of general cultural and professional vocal cycle, while Jinggangshan University focuses on upbringing an ideologically faithful citizen of the People’s Republic of China. The conclusion is made that despite the major impact of PRC’s leader Mao Zedong upon the music and vocal education, as well as vocal-methodological conference held in Beijing in 1957, the development of the vocal-pedagogical process has stagnated. The educators and students of music education in PRC should pursue the following objectives: openness to the new as a condition for cultural development; balance between the national spiritual values and professional competences; fulfillment of the role of cultural dialogue as a way of existence of art in the modern Communist China; preservation and continuous improvement of the system of music and arts education.

Keywords: ideology, Mao Zedong, covered sound, acoustic resonance, mask, foreign voice, European vocal schools, communist education, People's Republic of China, professional vocal education