The Russian theatre of the last centuries is a distinctly formed identity code, possessing certain content (social and moral) and formal (artistic and aesthe­tic, including those genre and verbal) features. The purpose of this article is to justify the presence of the Russian theater as an identity code, of which we believe there are two discourses — civilizational and mental.

Drama is defined as a borderline civilizational code of the Russian theatre. This is both a kind of literature that has developed dynamically, paradoxically, creating an outstanding repertoire for the theater, and the definition of a life situation that characteri­zes theatricality as a specific feature of Russian identity. The civilizational discourse of the Russian theatre manifests itself through the paradoxes of conflict in psychological drama. The unique (mentally deterministic) cultural dimension of the Russian drama forms a logical chain: time, space, and a person lost in time and space. The drama comes into the person’s life not only as a kind of literature, but also as a situation of their existence.

Russian directing is defined as a mental/specific and, at the same time, civilizational/universal code. The civilizational discourse in the Russian, as well as the world theatre represents the paradox associated with the institutionalization of director’s profession as an embodiment of the demiurgic beginning and the sphere of self-realization of individual peculiarities of a creative personality (which can be seen in the experience of V. Meyerhold and E. Vakhtangov, G. Tovstonogov and Yu. Lyubimov, and many of the existing directors of today).

An actor in Russia is more than an actor; paraphrasing the well-known formula, we pay attention to the characteristic of mental identity code inhe­rent in acting. The triad of playwright—director—actor undoubtedly forms the basis of the Russian artistic tradition and affirms the importance of professional intentions and the cultural and philosophical mea­ning of creative activity of each of the three authors of a theatrical work. The actor in this chain is the final link.

The civilizational discourse, based on the universals of cultural practices, is associated with transformation of styles, methods, eternal matters, reflecting primarily in drama. The mental discourse, fully specific, is associated with local themes (acting) and paradoxical receptions of world practices and influence on them (directing).

Digital culture has moved people to a fundamentally new environment, which has its own cha­racteristics, patterns and practices. Studies show that the digitalization of society occurs exponentially from year to year. Society is increasingly interacting with digital, and its influence affects various aspects of modern culture. New cultural patterns of behavior are being formed, traditional communication practices are being modified. As any complex phenomenon, digital culture not only opens up new opportunities for society, but also poses new challenges. The search for an effective, ethical, comfortable interaction in the information environment has become one of the urgent tasks. The development of the art market has always largely depended on the quality and level of social and cultural communications. Today, when the mass media in the traditio­nal sense have lost their monopoly on the production and distribution of information, giving way to “mass self-communication”, the art communications, relationships between the artist and the public, and construction of artistic careers are also undergoing certain transformations, influenced by social media. In recent years, the development of network structures, the increasing capabilities of digital storage systems, cryptocurrencies and blockchain registries have significantly changed the established system of the art market. This article is devoted to changes in the cha­racteristics of the art market and its main subjects — artists, collectors, galleries — in the context of digital culture. These processes and paradigmatic shifts are considered both from the point of view of their technological features, and from the point of view of their influence on artistic culture and art communication in general. The article analyzes in detail what ne­gative and positive aspects the digital culture brings to the participants of the art market.

Military material culture (tangible expression of military history) does not belong to topics unfairly forgotten by researchers. However, in mo­dern practice, the lost cultural heritage is not researched as actively as the preserved one. This study aims to fill in some lacunae in the history of military material culture related to the practice of re-mel­ting precious metal objects. The issue is consi­dered on the example of Life-Cuirassier Her Majesty’s Regiment. The article highlights the key moments of the regiment’s history related to royal awards. It was, primarily, the short epoch of the reign of Paul I when silver timpani, trumpets and cuirasses received the status of regimental relics (1799). During the reign of his successor Alexander I, with a reduction in the cost of maintaining the army, the silver part of this regimental relics was re-melted. The money received made up the fund of the offi­cer’s insurance capital. Some more of the regimental relics, precious in every sense, were lost in the years of the Great Patriotic War. As a result, the military material culture of the era of Paul I, in particular the protective armament, is presented very poorly in modern museum collections. This research helps to describe its character and history of exis­tence. The main sources of stu­dying the lost relics is the history of the regiment and its regimental archive published by Colonel M.I. Markov. Graphic documents are used as additional sources. The article outlines the list of modern museum collections that store preserved items, partly similar (partially interchangeable) to the lost ones. Summing up the results of the work, the study of the lost material cultural heritage is a promising scantily-explored direction of military history.

In the history of Russian music publi­shing business, there are some areas that require a further study of extensive factual material in terms of succession of times and generations, traditions and experience, individual and common. The process of Russian music publishing formation resul­ted in a unique thought-creating space, which united in a single whole the spiritual and the material, commerce and philanthropy. The economic side of the issue in this case is the most indicative, demonstrating the various analytical perspectives, which create an idea of the mechanisms of entrepreneurial activity in the market of production and marketing of non-printed products, the problems of innovative approach in the field of improving production capacity, the emergence of a whole galaxy of merchants-patrons-educators.

Hence, “homo musicus” and “homo financicus” are outstanding representatives of the Russian music publishing business, which opens the prospect of studying personal profiles in the history of philanthropy and charity and creates prerequisites for understanding the unity of financial, economic and artistic spheres. The article aims to study the professional features that allow to determine the genesis of commercial and creative in the most successful music publi­shing business projects implemented in the second half of the 19th century. Of particular interest are the famous names, specifically, M.P. Belyaev, who was a symbol of high service to the musical art. Promoting the works of young Russian composers, providing them with all-round assistance and support, M.P. Belyaev became the first “musical missionary” and educator. His financial activity was deeply patriotic and connected with high spiritual ideals of service to society.

These grounds can be used for further study of Russian music publishing business, philanthropy and charity in their inseparable interconnection.

The article is devoted to one of the most interesting topics: the ideological heritage of constructivism and evaluation of its value. The no­velty of the research is determined by the choice of its subject: unrealized projects of Soviet architects of the 1920s (I.I. Leonidov, K.S. Melnikov, V.A. Vesnin, A.A. Vesnin, L.A. Vesnin and N.A. Ladovsky) as a source of promising ideas for the architecture and design of the late 20th—early 21st century. The paper aims to assess the creative and artistic value of the unrealized projects of Soviet constructivists for the modern architectural design. The main result is the attempt to present a historical and conceptual overview of the origin and features of constructivism and rationalism as trends in urban planning. The 1920s, when the principles and trends in constructivist architecture were formed, became the time of development of a new production and architectural model. The combination of rationalist approach with utopian functionality of most of these projects was the reason for rejection of a truly constructivist trend in Soviet architecture in favor of the “Stalin Empire Style”, and later — deconstructivism. The problematics of constructivist solutions of the 1920s in the field of urban planning and environmental management largely determined the methodology of architectural space organization of the USSR cities in the 1930s, when the stan­dard of “industry oriented” socialist society became a priority. The author considers theoretical studies and scientific publications about the works of Soviet constructivist architects, gives examples of explicit translation of the principles of constructivism in the 21st century architecture, and makes an assumption about the relationship between the ideolo­gical heritage of Soviet constructivists and the artistic and creative process of modern architects and desig­ners (founders of high-tech style R. Piano, N. Foster; deconstructivists F. Gehry, Z. Hadid, D. Libeskind).

The article concludes that the constructivist ima­ges and stylistics of the analyzed period, though not translated by modern designers and architects “directly”, become the basis for implementation of new conceptual solutions.

The article presents the views of experts on the specifics of V.V. Rozanov’s literary discussions. It highlights the features of the thin­ker’s polemics with P.B. Struve and his colleagues about the boundaries of the party framework in the course of public statements in late 1910 — early 1911. The most vivid details of disputes on the previously mentioned topic are noted. This is evidenced by citation of various draft versions of manuscript materials from V.V. Rozanov’s archive, stored in the Manuscripts Department of the Russian State Library. The article focuses on the duality of the positions not only of V.V. Rozanov, but also of the critics who started the dispute. On the basis of previously unknown archival sources presented in the article, the study aims to refute the myth that the philosopher was never engaged in author’s editing of works in the genre of journalism, and to prove the importance of this work for the thinker. It was V.V. Rozanov who introduced the term “literary terror”. There is consi­dered the lexical series of the origin of this concept in the writer’s texts. The article confirms V.V. Rozanov’s view on the inadmissibility of politicization of his creative works. Personal motives in the philosopher’s fate during the described journalistic polemics are revealed. Responding to accusations of immorality, he claimed the inseparability of talent and moral forces of a literary person’s soul. There is also noted that it was important for V.V. Rozanov to understand the “mosaic” composition of cultural formations in all types of creative process. The article provides guidelines for detai­ling the ideological foundations used by the writer in his polemical speeches.

The object of the research is the social and professional position of the writer and journalist Frida Vigdorova, which was estimated by the Soviet li­beral intelligentsia of the 1960s—1970s as extremely valuable. Her record of the trial of I. Brodsky served as a model for the drafters of reports on the trials of dissidents — A. Ginzburg, P. Litvinov, N. Gorbanevskaya, and others. Nonconformists shared the worldview principles of Vigdorova, replicated her behavioral model in the process of protecting dissidents from persecution of the authorities, and made the “advocate” model the standard of public behavior. The article aims to identify the origins of the “advocate” behavioral model formation and to characterize the journalist’s axiology. Frida Vigdorova’s journalism and memoirs of her contemporaries served as the study material.

The author asserts that Vigdorova modeled her social and professional behavior on the samples crea­ted by the Russian and European tradition. V. Korolenko’s public activities was the closest reference point. To prove this thesis, the author compares Vigdorova’s behavioral tactics in the “case of Brodsky” and Korolenko’s in the “case of Beilis”. Comments of Vigdorova’s contemporaries confirm her conscious orientation to the “advocate” behavioral model, implemented not only in the “case of Brodsky”, but also in her social practice and journalism. Vigdorova’s axiology, according to her contemporaries, included active help to people, humanism and a desire for justice.

Vigdorova’s journalism is devoted to the ethics of social relations. The plot of her essays is usually based on dramatic events requiring immediate public intervention. She orients the reader to empathy and active social behavior in response. Thus, the task of forming the active participation of citizens in the fate of each other is solved; the value of compassion and mercy is established.

The article concludes that the axiology and beha­vioral practices of Vigdorova included the universal values for the Russian and European tradition of the 19th century — anthropocentrism and humanism.

The article aims to demonstrate the results of research and bringing to the technological implementation, in the Library for Natural Scien­ces of the Russian Academy of Sciences (LNS RAS), of a full cycle of works, from identification of rare books in the collections, their description and scanning, to their registration in the Union Catalog and Electronic Library. The author gives a brief description of the software package developed at LNS RAS for creating the Electronic Catalog and full-text Electronic Library of Rare Publications, as well as the scheme of automated interaction of all technological departments involved in the process. The information on practical implementation and directions of the technology development is given. The article presents a brief review of the research, with the identified part of the collection of rare publications of the LNS RAS. For the first time, the Central Library of the LNS RAS implements the Union Catalog and Electronic Library of Rare Publications, reflecting not only the bibliographic information on the publications, but also the data on their specific features (author’s inscriptions, bookplates, stamps, etc.). Rare publications previously inaccessible to researchers, though already used by scientists of the RAS institutes, are introduced into scientific circulation. The article identifies and describes materials about geographical expeditions of the 18th—19th centuries and samples of Russian and foreign book printing of the 18th century. For the first time, the LNS RAS conducts research related to the history of Russian science and printing, and identifies bookplates and proprietary marks of Russian scientists, which have not previously been reflected in ca­talogs. This opens a new cultural layer of historical data, now available to researchers.

The article is aimed at studying theore­tical aspects of the concept of “holiday” in the context of the category of “social institution”; presenting the main etymological and substantive components of holiday — generally accepted and historically established rules and regulations, the order and way of action that are observed by virtue of well-established traditions, stereotypical behavior, etc.

The article analyzes the specifics of holiday closely associated with the archetypal need for its existence, the ambivalence of holiday, its democracy, calendar character, magnitude, and entertainment.

The authors study the functional significance of ho­liday. They demonstrate the role of holidays in sha­ping common experiences among actors of the social groups arising in the course of interaction, which in turn reinforce the individual experiences of parti­cipants and send them in a common direction, encou­raging joint active participation in the life of society.

In terms of classification of Soviet holiday, the article identifies the following positions: national and revolutionary holidays, labor ones, traditional calendar-household ones, family-public ones, etc.

The article considers the structure of Soviet holiday and its main elements, including the idea and event, moral and psychological content, social memory, principles of organization, and means of ideological and artistic expression.

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