The study is devoted to the complex analysis of the actual problem of philosophical understanding of the economy culture in the context of transformation of the economy culture values into social institutions. The aim of the study is to substantiate the determinism of the process of transformation of values into social institutions (regulators) by objective economic interests of people. Taking into account the discussion of recent decades about the nature of the transformation under consideration, the author offers a comparative analysis of existing points of view on the nature and dynamics of the process. The article reveals the ambiguity of modern interpretations of the principle of rationalism, which is determined by the constant transformation of values in the conditions of instability of the market economy. The author reveals the nature and the main stages (phases) of the process of transformation of values into social institutions — norms of human behavior. The article defines the content of the three main phases of this process (generation, insight, exteriorization). The author formulates the idea of homeostasis of the value system, which is represen­ted by the ability of various complex systems to maintain their dynamic balance through self-regulation and the ability to maintain internal stability. The article compares the conceptual approaches to this idea contained in the works of L.N. Gumilyov, K. Marx, G. Wallas, E. Brooking and other authors. There are highlighted two initial archetypes of the economy culture (secular and religious); their nature, content and basic elements are revealed. The article identifies the positive historical experience of the philosophy of culture in the field of formation of the status rank of various values and their actualization within the secular and religious economy culture. The author indicates the prospects of the axiological approach to the further study of this problem, taking into account the growing instability, uncertainty and risks of the further socio-economic and socio-cultural development of society (the chaotization of social procedurality, the growing social opposition in the form of deviant and delinquent behavior, etc.).

The sphere of creative industries is the activity based on applying creative approach. Due to the complex composition of the areas of production attributed to creative industries, and the interdisciplinarity of approaches to their study, a consolidated position regarding their definition, composition, classification and essential characteristics has not been developed yet. At the same time, many resear­chers believe that activities in the field of creative industries have the ability to develop human potential. The inclusion of the topic, principles and approaches of the creative industries to the educational process of the higher education institutes of Russia conforms to the educational field development tendencies connected with the formation of necessary metasubject skills and abilities in present conditions. In those si­tuations when there is no possibility and need for introducing specialized educational courses in creative industries into educational programs, the same positive results can be achieved by applying a practice-oriented approach to the disciplines, provided by curriculum plans, educational and work practi­ces, and educational events. Through acquain­tance with creative businesses, inventions of their own creative projects, students have the opportunity to expand the future professional field, to apply the know­ledge, gained in particular from stu­dying a wide range of disciplines, to solve real problems in public life. The practice-oriented approach in educational programs can be embodied in the forms of specialized edu­cational programs, project semi­nars (competitions, incubators) and educational events. The article considers the practical examples of the specified formats implemented by “Creative Industries” Agency from 2015 to 2018 in partnership with a range of state institutes of higher education (Moscow School of Social and Economic Sciences, Russian Presidential Academy of National Economy and Public Administration, Moscow City Government University of Management, Petrosavodsk State University, Siberial Fede­ral University) and cultu­ral institutions.

The article is devoted to the theore­tic comprehension of the artistic culture of Yakutia of the 20th — 21st centuries, first conduc­ted from the perspective of methodological concepts of M. Mamardashvili-Pyatigorsky and the theory of modernization of S. Eisenstadt. The author develops a model for determining the properties and characteristics of the emerging cultural paradigm, denoting it by the term “ethno-modern”. The scientific novelty of the work is determined by the lack of research, in the regional art history and cultu­ral studies, focused on methodological innovation in the philosophy of art. Identifying the patterns and characteristics of the formation of modern regional art is timely because it contributes to the description of cultural systems and codes of multinational Russia. The study sets the task of classifying the Yakut artistic culture (from the pre-modern to the post-modern) and the typology of the symbolic constructs of consciousness, which is inherent to the art of these sta­ges. The current state of the creative culture of Yakutia is determined through the potential of theatrical, cinema, fine and musical arts (ethno-modern and ethno-premodern). The methods of interdisciplinary studies allows to identify the ethnoforming constructs of the artistic culture of Yakutia, different symbo­lic categories of consciousness in the spiritual landscape of the region and offer the author’s version of the analysis of the stages of development of European culture at the example of the art of the natio­nal region. There are indicated the two main trends that operate with symbolic constructs of a mytholo­gical or metaphysical type of comprehension. The result of the conducted study is the author’s concept of a new paradigm of the creative culture of Yakutia (ethno-modern), combined with the state of ethno-premodern. The article reveals the characteristics of this paradigm, potential of self-development and correlation with the accepted classification of European cultural evolution.

This article analyzes the aesthetics of modern Western audiovisual art by the example of the opening titles of “Six Feet Under” TV series (2001—2005). This titles sequence, as well as the series itself, were proclaimed as “cult art” and became widely influential in the US television culture. The visuals of the sequence had been created by a team of Digital Kitchen designers on the basis of music by Thomas Newman, who was a trend setter of the soundtrack genre in the 1990s—2010s. This work is of interest, being one of the most significant in modern mass culture, which allows to analyze the aesthetic trends within the postmodern audiovisual art in general. The research is based on R. Barthes’ method of analyzing objects of mass culture, in which the literal meaning of artistic ima­ges and the symbolic one (connotations, metaphors, allegories) are considered separately. T. Newman’s music is ana­lysed by using M. Chion’s view upon soundtrack as both musical work and acoustical image. The article analyzes the coherence between the music, the frame (literal) content of the video, and the connotative (symbolic) meaning of the visual images. The concept of “affect”, taken by the historians-poststructuralists G. Deleuze and F. Guattari from the aesthetic theory of Baroque art, is used to describe similar phenomena in postmodern art. Interviews, additional materials and other sour­ces that tell about the idea of the series’ creators and about its workflow expanded the source base of the study. The audiovisual composition’s analysis revealed the aesthetic techniques of artistic images’ affective (feelings-emotional) transmission, “counterpoint” of allegorical and realistic (naturalistic) images in the visuals and the music, central role of the pairs of images-antithesis (warmth/coldness, movement/static, life/death, and some others). The author concludes that the studied aesthetic model is similar, both in its content and in the form of expression, to the Baroque aesthetics in a modified postmodern form (Neo-Baroque).

The article raises the actual questions: if the theater can be Christian and who in that case the actor is — “a priest” or “a buffoon”. The purpose of this article is to consider the issue of “Christian theater” at different levels: historical, psychological, social. The article analyzes the issues of actors’ personalities formation and their religious sear­ches. There are considered the conditions of Christian upbringing in families and faith preservation in the complex historical period of the Russian history of the late 19th — mid-20th century. The no­velty of this study lies in the fact that it introduces into scientific circulation little-known manuscript materials stored in the Manuscripts Department of the Russian State Library: 44 autobiographies of recognized actors, which were published in 1928 in edited form by the writer V.G. Lidin; as well as some other unpublished documents. The sources show that actors brought up on Christian ideals followed them in their work, despite the difficult conditions of socio-political life in the country. Among them are well-known actors of the Moscow Art Theater, Moscow Art Academic Theater, State Academic Maly Thea­ter, Vsevolod Meyerhold State Theater, Bolshoi Drama Theater, Vakhtangov State Academic Theater (and others): V. Kachalov, I. Ilyinsky, R. Apollonsky, L. Vivyen, G. Ge, A Koonen, A. Orochko, G. Martynova and other masters. The article also uses some little-known writings of the actors, their questionnaires on the psychology of acting, photographs, as well as manuscripts and published memoirs of their contemporaries (E.D. Golovinskaya, E.A. Korotneva, V.D. Markov, Yu. Panich), allowing to consider the issue of “Christian theater” from different sides.

One of the positive phenomena of mo­dern culture is its tendency to study and preserve urban space, which is especially important for historical cities. The appeal of researchers to the study of urban landscapes, made by artists of pre­vious eras and left for descendants to see the views of large and small ci­ties, contributes to the process of lost monuments reconstruction. The importance of studying images of cities through visual sources is determined by the fact that cities are territories connected with lives of people, who are involved in creation of their architectural monuments. Ci­ties are the habitat of people that reflects their daily life. The article, for the first time, explores the features of the Kazan urban art of the early 20th century reflected in graphic works of the Tatar satirical magazines “Yashen” (“Lightning”) and “Yalt-Yult” (“Sparkle”), published in the early 20th century. The drawings presented in “Yashen” and “Yalt-Yult” are illustrations to articles and feuilletons.

Most of the drawings are made in the genre of cartoons, which is predetermined by the studied ma­gazines’ subject matter. Mainly, architectural objects depicted in the cartoons of “Yashen” and “Yalt-Yult” magazines do not have an independent meaning, they are only “present” in picture’s composition in order to show an event from the city’s life more clearly. Another group of the Tatar satirical magazines’ drawings represents the ima­ges of the architectural structures that illustrate texts of advertisements. In this group’s graphics, depiction of architectural monuments is characte­rized by careful elaboration of details due to the reconstruction of the architectural structure’s image through visual memory. Because of the fact that at the beginning of the 20th century, the main part of the Tatar population of Kazan lived on the territory of the Old and New Tatar Slobodas, the authors of articles, feuilletons and cartoons in the magazines mainly reflected the life of those parts of the city.

The research is based on the study of fundamental works and publications of Russian scientists and the analysis of the body of sources: articles and dra­wings from the magazines “Yashen” and “Yalt-Yult”, archival materials.

The images constructed in the Soviet period occupy a special place in contemporary Russian culture. Our culture retains links with them whether they continue to exist or attempts are made to deny or overcome them. The article is devoted to the formation of the concept of “Soviet man”, which is often interpreted in a generalized sense in modern Humanities. The novelty of the research is that it focuses on the ima­ge of “Soviet woman”, a gender stereotype introduced by all power of propaganda machine. The work recorded the enrichment of the “working woman” ima­ge with new meanings of “socially active mother”, which appeared in the 1930s. According to the author, this change of the power discourse is based on the implementation of the “social motherhood” project. As a result, the constructed image of the woman “libera­ted from domestic slavery and working socially active mother” became a model and broadcasted by propaganda during the next two decades. In fact, “liberation and equality” declared in the 1920s turned into excuse of the double burden. Remaining a shock worker and social acti­vist, she should comply with ideal of a healthy mother with a healthy child. This is how the ideal Soviet woman appeared, who does everything and is able to do everything, achieves everything herself and actively realizes the opportunities provided by the Soviet power.

The sources of the study were articles, letters, reports and illustrations published in 1930—1935 in the magazine “Rabotnitsa”, issued by the Central Committee of the All-Union Communist Party of the Bolsheviks. The author chose this magazine because it had a targeted gender audience, a considerable circulation (about 350,000 copies) and was published three times a month.

 

The article focuses on the 19th-century American history schoolbooks as primary sour­ces in historiography and cultural studies. The re­levance of the topic is determined by the fact that historically several regions with different econo­mic, cultu­ral and ideological characteristics existed and deve­loped in the USA. Therefore, broad political powers of the state governments that traditionally made laws in the field of education may give us the reason to assume that the narration of the American history in books produced and used in different parts of the country might have reflected values and beliefs of those particular states.

The study was based on the principle of historicism, which let us closely analyze such questions as the authorship, places of schoolbook publishing and areas of their distribution with re­ference to the changing sociocultural realia of the 19th-century America.

The following conclusions were drawn. The advent and development of public education as well as the blossom of the printing industry in New England contributed to the fact that in the 1820s there emerged a big group of authors who wrote the most popular American histories. Simultaneously with the growth of the number and influence of publi­shing firms in New York and Philadelphia, the center of the textbook production moved to the Mid-Atlantic Region in the latter half of the century.

The United States territorial acquisitions of the 19th century predetermined the mass migration of the American citizens who amongst other possessions carried their children’s textbooks to new places. Due to the fact that the system of public edu­cation was still in its juvenile years and did not enjoy authority among the citizens, school administrations and teachers were not able to make parents buy new schoolbooks from the lists approved by schools, counties, or states, which led to the problem of textbook diversity and to the distribution of the northern books throughout the whole country. Concurrently, high profits in textbook business attracted many people who tried to write and sell as many histories as possible. This resulted in the problem of oversupply of schoolbooks.

In the context of globalization of the mo­dern world and the growth of intercultural interaction, the question of spiritual development of the nation, the issues of formation, establishment, and the main trends in the further evolution of its art become the subject of research by many art historians, who, through the use of their topical articles and speeches, have made conditions for the further improvement of art studies in Kazakhstan.

Currently, the Republic of Kazakhstan is on the way of radical changes in its political, economic and cultural system, which became possible with the acquisition of Kazakhstan’s status as a sovereign state.

Scientists of Kazakhstan — historians, ethnographers, culturologists, art experts of the 20th—21st centuries — conducted comprehensive studies of the history, culture and art of the Kazakh people. Special attention was paid to description of the traditional types of applied art (felting, weaving, embroidery), as well as the work of master jewelers.

While the traditional types of applied art have been widely described and studied by art historians in ethno-cultural aspects, the professional jewelry art of Kazakhstan, the work of modern national masters are still insufficiently investigated, including the issues of archaic and traditional forms interpretation in today’s jewelry art.

Contemporary jewelry artists working in the most topical forms keep the Kazakh traditions of jewelry craftsmanship: they use generally accepted techniques of metal processing in their works, creatively interpret traditional forms.

The active use of the established techniques by mo­dern masters is complemented by the latest technology.

The artistic features of modern jewelry are based on the author’s interpretation of forms and techniques of traditional jewelry art; there is a kind of synthesis: a mixture of traditions of the Kazakh craft, techniques of folk applied art, and current artistic trends.

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