Vol 25, No 5 (2023)

Currently, students of higher educational institutions are constantly in a huge flow of information, not only coming from everyday studies, but also in the flow of information that accompanies everyone in the modern information world. That is why the teacher is required to show outstanding skills in order to contribute to the development of students' interest in acquiring new knowledge and learning in general at each lecture or practical lesson. It is possible to increase interest in the discipline being studied if you organize the acquisition of knowledge within the educational process in such a way that the emphasis is placed on obtaining the knowledge necessary for further professional activity. In the first and second years of technical universities, the discipline "Higher Mathematics" is the most difficult for students. At the same time, in technical universities, the need to study mathematics is indisputable.

In this paper we will demonstrate that with the help of a mathematical apparatus, problems that fall within the circle of physical study of electrical engineering are solved. That is why we believe that students, starting from the first year, need to be explained that the knowledge gained in the study of general education subjects will be used not only in the development of special disciplines, but also in further professional activities.

The presented article is devoted to the problems of distance learning in the target areas. The article discusses in detail the problems of university distance education. By distance learning in this article, we will understand learning with the help of information technology. Distance learning is defined differently by different authors. With such training, the teacher perceives the students as an impersonal mass and has no way to assess the degree of understanding of the proposed material. The main purpose of the study was to consider distance learning for students who entered the university in the target areas of various divisions of the Russian Railway. The authors of the article consider the problems of distance learning of students in target areas at the Samara State University of Railways on the example of teaching higher mathematics. One of the methods of organizing targeted university distance learning is proposed, the project method. With the help of the project method, we propose to solve professionally oriented tasks when teaching students in the target areas in the course of higher mathematics. It is this format of education that is most promising. The approbation of this approach to teaching target students in a distance format has shown the effectiveness of the proposed teaching method.

The paper focuses on the problem of developing teaching competencies with perspective FL teachers. The article deals with the topicality of the issue under discussion, which is explained a) by the modern social trends reflected in language education and b) by the fact of publishing a renewed teaching profile for FL teachers. The authors integrate the components of the system aimed at developing perspective FL teachers into a table. It reveals the changes of the main components, i.e. the objectives, content, approaches to professional educational training, specific learning environment of our time, tools and pedagogic technologies for professional educational training of perspective FL teachers. Consequently, the authors make the necessary comments on the tendencies that are reflected in each component renovation. The authors highlight the differences in students’ learning expectations and the objectives of the teaching staff. They make a conclusion that in general the system of developing teaching competencies is open to numerous innovations, incorporates them, which leads to the need to renovate the system of FL teaching knowledge for training competent perspective FL teachers.

This article touches upon the problem of motivation for the activities of students-choreographers of universities of culture and art, without which the most effective pedagogical methods and technologies do not bring the desired result. The problem is relevant for the system of higher choreographic education. The paper considers the methods of stimulating motivation for activity, which, in the author's opinion, bring the greatest benefit in the formation of motivation for choreographic activity. The revealed methods are tested during the ascertaining and forming experiment in the system of higher education of choreographers. The author gives statistical data of the changes that have taken place with the motivation of choreographer students to work, after the introduction of a set of selected methods for stimulating motivation. Analysis of the data shows that during the experiment the number of students with a positive motive for activity in the second and third year of the Samara State Institute of Culture increased significantly and the number of students with a negative motive for activity decreased (from 53% to 0%) and (from 66% to 0 %). For first-year students, the changes are not statically significant, due to the fact that a positive motive for activity was observed among choreographer students in the first year of study and amounted to (89%). This led to the conclusion that the primary task of a teacher of a modern university will be to promote the emergence of positive motives for activity, before introducing new methods and technologies for teaching students.

The practice of Demidov's sketches is widely used in theatrical pedagogy today. N. V. Demidov had a medical education, studied Tibetan medicine and suggested K. S. Stanislavsky to use the psychophysics work technics in acting accumulated in yogic teaching. In his own method, N. V. Demidov was looking for ways to actively include irrational mechanisms of the psyche in the process of acting, which is the basic of the desired state of creative inspiration, which is a special state of consciousness and is actively studied by modern science. The author of the article analyzes the connections between Demidov's approach and some provisions of the spiritual and bodily teachings of the East, which are the basis of work with psychophysics and have been attracting the attention of theater teachers for many years. Working with consciousness is one of the main directions explored by Eastern teachings, and it was thanks to acquaintance with Tibetan medicine, yoga, N. V. Demidov managed to get close to the subtle, elusive layers of the psyche and provoke the nature of the artist to a unique, free, creative existence on stage. It is in the XXI century that the Demidov's approach becomes extremely popular.

At the moment, an important feature of the existence of the theater as a socio-cultural institution is its functioning in market conditions. Performances become the subject of sale and purchase, and the hedonistic function of the theater is opposed by great competition: cinema, the Internet, social networks, entertainment shows and show programs. In this regard, in order to remain in the consumer market, the theater uses innovative technologies and experimental forms, which lead to the loss of the uniqueness of the theater and a decrease in the level of the public. The effective implementation of the ideological and educational functions of the theater is directly related to the level of training of the theatrical public. The questions of his typology, the classification of the level of art education, are decisive in the perception of the performance. The genre orientation and subject orientation of theaters certainly depend on the ability of the public to perceive works of theatrical art. The article deals with the analysis of sociological studies of the interaction of the individual with art, as well as the study of sociocultural processes that form the orientation of the theater audience towards works of theatrical art. The author of the article pays special attention to the leisure activities of individuals and the formed stereotypes of the theatrical audience. The author also carried out an analysis of the cultural and leisure behavior of the public and derived the differentiation of the public according to the level of orientations and preferences for the performing arts.

The relevance of the topic is due to the need for a comprehensive study of the creative personality of an outstanding sculptor of the 20th century Stepan Dmitrievich Erzya (Nefyodov, 1876–1959). Object of the article: biography and creative (including art-pedagogical) activities of sculptor S.D. Erzia; subject of the article: creative, mentoring relationship of the sculptor with his nephew, the painter Vasily Ivanovich Nefyodov (1890–1918). The study is of a historical and cultural nature; it uses comparative-historical and biographical methods. The sources of the study are the works of S.D. Erzia and V.I. Nefyodov (both located in museums and archives of the Russian Federation, including the Republic of Mordovia, and not preserved, known only from photo reproductions), press materials of the first third of the 20th century, archival documents. The author reconstructs the biography of V.I. Nefyodov, reveals the role of S.D. Erzia in his creative development. As a result of the study, it has been proved that a number of surviving paintings, which are considered by researchers as the works of S.D. Erzia, actually had been created by his nephew. The author attributes the photo of V.I. Nefyodov, made in the suburbs of Paris Seaux in 1912, sculptural portraits of V.I. Nefyodov created by S.D. Erzia and other works dedicated to him. It is proved that the unpreserved statue “Prayer for a Chalice” made in the Urals, which some researchers (for example, the Ural archivist E.V. Shimonek) call “an unknown creation of Erzia”, is a grave monument for V.I. Nefyodov, made exactly from this photo.

The postmodern reinterpretation of values led to the blurring of boundaries between social groups and the diffusion between mass and elitist art. As a result, there was a need to form a new cultural threshold, which was fulfilled by symbolic capital. For a long time, contemporary art could not compete in prices with the works of old masters. However, since the early 2000s, there has been a trend of a rapid increase in prices for contemporary art. This article attempts to analyze this phenomenon, where a work of contemporary art is viewed as a "source" of symbolic capital, and the act of purchase is considered a form of conspicuous consumption, i.e., it is done not for the purpose of enrichment, but for the acquisition of authority and social status. The article proposes the assumption that in the current socio-cultural situation, an increase in symbolic capital can be achieved through the consumption of art. In the space of the modern art market, the artistic value of a work of art and, therefore, the volume of symbolic capital, are inversely proportional to its "accessibility", and the category of artistic value can be substituted with the economic category of price. In addition, the role of the art market in shaping new forms of art is traced. Contemporary artists, like their colleagues in the 1960s, continue to resist the art market. If this protest is fundamentally valuable, it leads to the emergence of new conceptual art practices, such as performance, land art, happening, etc.