Izvestiya of the Samara Russian Academy of Sciences scientific center. Social, humanitarian, medicobiological sciences

The need to train specialists with a high level of professional training requires the development of teaching methods and tools that ensure the formation of professional competence of future engineers, including the activation of the student's educational and cognitive activity, shows the relevance of developing forms and methods of such activation. In this paper, the authors consider one of the possible methods for activating the educational and cognitive activity of university students, for which it is divided into levels: reflection, comprehension, algorithmization and control; describe the psychological processes implemented at each of them. At all levels of cognitive activity, there is a consistent movement through the stages: recognition, reproduction, application and creativity. Thus, the process of learning the educational material can be represented by a matrix of dimension. The work shows the organization of the student's educational and cognitive activity at the first, elementary level, where at the stage of recognition there is a movement from reflection to control. An example of a mathematical problem from the "Analytical Geometry" section of the first level of complexity is given, and the solution consists of four educational components. The proposed approach makes it possible to combine the educational material into a common system by dividing it into four levels, corresponding to the degree of difficulty of the tasks.

The article is dedicated to analyzing fiction peculiarities, semantic implications, as well as cultural facets of Boris Evseev’s creative works, the contemporary Russian writer, studied from the point of view of humanities methodology developed by M. Bakhtin in his article named “Methodology of humanities” (1974). The authors explore the creative work of Boris Evseev, the vice–president of the Russian Pen–center and Moscow Writers’ Union member, honored worker of culture (born in Kherson, 1951) on the example of his such prose works as “Ram” (2001), “The renounced anthems”, “Dogs’ power” (2003), “The fling. Some peculiarities of the minor violin’ technique” (2005) and “Paupers’ Hole–in–thewall. The Russian capriccios” (2009). The authors consider Boris Evseev’s creative method to essentially be ontological realism.  The authors think Boris Evseev to incline to the special chronotope type, namely carnival chronotope, with the extensively exploring contemporary society problems from the point of view of human fate and protagonists inner conflicts within the context of the Great historic time.  However, feeling the anxiety for his Motherland destiny, as well as the Russian world in general, Boris Evseev speculates on the possibility of the social life reorganization in his country on the alternative basis, being immune to mundane, man-made calamities. The authors proclaim the Russian world core values to be still of great concern of such Russain writers as Boris Evseev.

The article regards various aspects of the work of East and West Slavic authors of XVIII-XIX centuries, who have made a significant contribution to the development of the fable as a small literary genre. In this connection, the authors offer a historical-literary review of the main results of various known poets and writers` creations, emphasizing the features of their individual styles and approaches to (re)interpretations of ancient, classical fable plots. The results of multi-aspect synchronic-diachronic analysis carried out in the framework of the study provide full grounds to assert that, despite definite differences, the works of authors of so called «golden age» have considerably common features due both to the universal morality predominance and adherence to the established classical traditions. On the whole, translations and adaptations of ancient fables, created in XVIII-XIX centuries by writers of different Slavic peoples: Russian, Ukrainian, Polish, Czech, Serbian and some others, played an important role in the development of European satire. These works have contributed much to the popularization of small satirical genres in later historic periods. It is just for this reason that the issues concerning various aspects of their analysis and (re)interpretations continue to interest researchers and are constantly raised in scientific discourse.

The purpose of the article is to analyze the socio–cultural conditions of the Vepsian language within the territory of the Republic of Karelia and the Vepsian administrative-territorial autonomies. The main objective of the research was to establish the boundaries of the functioning of the Vepsian language in the official and cultural spheres, to analyze the status of the Vepsian language in the socio-cultural space of the region. The paper analyzes the concept of “official areas of communication” as part of the social, cultural and linguistic context of the life of an indigenous people group. A detailed analysis of the use of the Vepsian language in regional and local mass media, as well as the regulatory activities of public authorities in places of traditional residence of the Vepsian people, has been carried out. It is shown that the Vepsian language has an official status in the territory of rural settlements of the Republic of Karelia, but its actual use in the areas of communication provided for the official language is significantly limited. It is traced that the legal guarantees for the use of the Vepsian language as an official language are implemented locally, the language is preserved as a means of demonstrating Vepsian identity in public life (broadcast of “Vepsianness” through performance). Monitoring the situation in the socio-cultural space of the region made it possible to provide an analytical assessment of the intercultural policy being implemented in Karelia, identify the strengths and weaknesses of the socio-cultural situation, and formulate possible perspectives for its further development and reform.

This study is dedicated to the work of A. Pletnjov (1889–1972), a Samara (Kuibyshev) artist who painted mini-landscapes and remained unknown even to art historians until recently. In prerevolutionary times, A.E. Pletnjov painted icons, portraits, and frescoes for churches. While working at Vsekohudozhnik, he created portraits, copies of famous paintings, typography, and posters. In 1938, A.E. Pletnjov became a member of the Union of Artists of the RSFSR. As a teacher, A.E. Pletnjov led fine art clubs at the Railway Workers' Community Center and the Zvezda Community Center of the Maslennikov Plant in Samara (Kuibyshev). The appendices contain three articles from the Maslennikov Plant's factory newspaper, describing the work of the children's and adult art circles, as well as the artist's landscapes. The purpose of this publication is to reveal previously unknown facts about the life and work of A.E. Pletnjov, examining them in the context of the era represented by the work of fine art circles and the miniature landscape genre as phenomena of Russian culture. The subject of this study is the artist's landscape technique. The study concludes on the significance of fine art circles for the cultural life of Samara and the artist's high level of skill.

This article explores the phenomenon of style in musical interpretation. Style manifests itself primarily in the composer's notational text, then in the performer's interpretation, and finally in the listener's reception. The phenomenon of style relates to historical eras, the original languages ​​of outstanding composers, and vivid performer interpretations. Styles represent specific structures that form through a process of self-organization. The structure of style presupposes the presence of stable elements. These can be characterized as textual (formal) and performance (qualitative). Both can be defined as both constants and fundamentally variable formations. The former are the result of the transmission of tradition, the latter a manifestation of individual qualities. The construction of new meanings occurs through the means of an old musical language, in which highly developed homophony alternates with common forms of movement, and variability is accomplished according to fairly strict canons. The most important mental changes occur in sonata form, where the seeds of a new worldview gain strength. Despite the commonality of some ideas and many modes of expression, the romantic era of piano art brought to musical culture a very bright originality of artistic individuals, each of whom possessed his own musical language, provided by a fairly wide range of technical means and performance techniques (the romantic “classicism” of F. Mendelssohn and K. Weber; the romantic universe, clothed in Viennese “clothes” of F. Schubert; the grandiose all fresco style and romantic impressionism of F. Liszt; the severe and tender style of the rebellious lyricist F. Chopin; the romantic dualistic worlds of R. Schumann; the Teutonic power and mystical lyricism of J. Brahms.

This study presents an art historical analysis of circus arts traditions as a contemporary Russian cultural phenomenon. The scientific novelty of the work lies in its qualitatively new findings in the study of circus arts facts, specifically the search for priorities in the scale and significance of the contribution of Russian and Western circus troupes to the overall development of circus arts, a holistic and systemic analysis of the essence and specificity of circus forms, and a reconstruction of the evolution of circus arts from the perspective of the multivariate nature of its artistic forms. Technical capabilities allow for the incorporation of new artistic techniques into contemporary forms of variety and circus arts. Sound amplification and sound synthesis equipment are capable of achieving expressive and unconventional musical and lighting effects, while spatial sets, the use of cinema, and, more recently, the use of neural networks, make modern circus acts exceptionally impressive. A new direction for merging circus and theater is the use of circus-inspired skills in dramatic performances. The use of folklore and ethnographic material in circus arts has become relevant. The Russian circus is a unique phenomenon: while circuses in other countries often bear the imprint of a distinctly mono-ethnic culture, the Russian circus not only exhibits but also creates such a circus repertoire. From this perspective, the ideology of a multinational state has proven fruitful. One of the most important trends in the development of the Russian circus during the Soviet era was an appeal to Russia's national cultures, vividly embodied in circus arts.