卷 5, 编号 4 (2024)

The idea of religious justification of history is closely connected in Russian thought with the idea of justifying cultural creativity. At the same time, cultural doing also acquires religious coloring, receives an eschatological dimension. For Russian Christian thinkers who developed the idea of history as “salvation work”, the end of the world is not a catastrophe, but a transformation. Culture plays a huge role in preparing the world for transformation. Along with the leaders of religious and philosophical societies and assemblies of the 1900-1910s, representatives of religious movements mentioned the topic of justifying culture in their works. One of such movements was Golgotha Christianity. The article provides an overview of publications in The Novaya Zemlya newspaper, the authors of which being the representatives of this movement, discussed the issues of religious and social construction and the problems of culture “churchification”. The editors published articles about leaders of Russian and world thought, culture, education, as well as poems by N.A. Klyuev. They formed the semantic framework of the conversation about eschatology and culture.

The current cultural and leisure environment is undergoing transformations that consolidate the status of free time as a priority sphere of a consumer’s existence. The article, basing on the ”challenge-and-response” mechanism proposed by A.J. Toynbee in the study of the dynamic processes of society, is aimed at highlighting the key sociocultural processes and phenomena that determine the development of the cultural and leisure environment and global trends of the present. The authors come to the conclusion that at the present stage actualization of cultural memory and local cultural heritage is taking place, the need for live communication and fatigue from the replicated mass flow are increasing. At the same time, there is an increasing interest in unique crafts and practices of amateur creative work (the phenomenon of making).

The novel The Stranger by the Polish writer M. Kuncewicz, written almost a century ago, is traditionally considered autobiographical. The author of the article proves that the autobiographical nature of this work, created in the realities of pre-revolutionary Samara, is of a different kind. In the images of the main characters and in the biographies of their prototypes, one can recognize M. Kuncewicz’s parents – I.A. and A.A. Shchepanskys. However, describing the setting of several key episodes of the novel, the writer deliberately avoids mentioning Samara. Creating the outline of the novel, M. Kuncewicz turned the (auto) biographical aspect to the other side to the reader; which resulted in the face of the biographical drawing becoming invisible, but its “wrong side” becoming the basis of the plot movement, being originally used to build the “mirror images” of the heroes, serving as a means of organizing artistic time and space.

The contradictory, grotesque, paradoxical nature of the images of conceptual fashion positions the work of designers who have most clearly manifested themselves in this area. To analyze the specifics of their work a structural-semiotic approach is applied in the article, which allows exploring this phenomenon of culture as a complex of invariant relations within the framework of an integral system of official fashion. The unity of the syntactic, pragmatic and semantic stages of the analysis contributes to the identification of the concepts underlying the styles of such prominent representatives of the world of conceptual fashion as R. Kawakubo, M. Margiela, I. Miyake and others.

Phenomenology as a scientific approach used in the training of performing musicians enables us to describe the essential structure of the phenomenon of music and in particular its substantive elements, i.e. dialectically polar musical images. The article justifies the cognitive significance of the description method for the study of manifestations of the phenomenon of music such as composition, performance, perception, training and music management. The evolutionary stages of the description of the phenomena related to the phenomenology of music make it possible to designate the enrichment of the subjective world of a viewer with new musical images that carry meanings, the perception of which is necessary for the development of a personality, as the ultimate professional goal of a performing musician.

Basing on modern research in the field of the socio-communicative nature of a book the article provides an analysis of the dramatic changes which are taking place in the book communication system under the influence of the digital environment. Various levels of the communicative book field are examined from this standpoint including the dialogue of the author with the environment, the author with the text, the text and the book publisher, the author and the reader, the reader and the text, and others; the most important bibliology problems have been identified, which are of high relevance to the modern society, but underrepresented in scientific bibliology discourse.

Sheet music periodicals of Russia of the last quarter of the XVIII^th – the first half of the XIX^th century is a significant, but insufficiently studied part of the national repertoire of printed works. Using the example of individual publications (The Muzykalnye Razvlecheniya, The Magazin Muzykalnykh Razvlecheniy, etc.) the article explores the structural features of sheet music journals of this period, the specifics of their content, readership and printing base. The author analyzes the main bibliographic resources that reflect printed materials of this type, shows that the question regarding the number of sheet music journals issued in Russia before 1861 is controversial, linking the contrasts in statistics proposed by scholars with the rarity of these publications and various counting methods. The need to distinguish between purely sheet music journals and mixed-type journals (literary-music, theatrical-music), where sheet music of individual works or sheet music supplements were published.

The outstanding Tajik singer and actress Tufa (Tufakhon) Fazylova (1917-1985) was at the origins of the adaptation of European opera art in Tajikistan and the formation of the original national opera. The article traces the main milestones in the life, creative work and professional feat of the prima donna of the Tajik stage. The singer’s work exemplifies the key problems that national pioneering performers had to solve on the way to mastering the polyphonic genre of European opera in a monodial culture (“composer-folklore“, “monody-polyphony“, “oral-written“). The author provides information about Tufa Fazylova’s stage images and her participation in the production of operas, operettas, musical and theatrical performances, musical dramas.