The article explores the phenomenon of music from the viewpoint of Man. In the philosophy of music, the connection with man is getting relevant, replacing the positivism, as well as the speculatism, common to music theories in the past, when formal logical methods were used.

The article focuses on the connection between man’s personal experience, his or her anthropological energy, that is the one that comes from the innermost foundations and utmost underlying feelings of the person (horror, pain, happiness, delight, and self-transcendence), and specific musical energy. In this rendering, we rest on the philosophical concept of the outstanding modern Russian thinker Sergey Khoruzhy. He describes man as an energetic entity formed by a limit-experience, which is the experience of reaching the limits of existence and consciousness. The synergistic approach to man continues the non-classical philosophical tradition of building the model of man using the categories like “energy”, “self-practice”, “limit-experience”, “constitution of man” and excluding the categories like “entity”, “substance”, “subject” present in the classical vision of man in European philosophy of the 17th—19th centuries.

The anthropological component of the non-classical synergistic concept of music includes the comprehension of man through a certain typification of man’s striving to reach the limits. This philosophical anthropology depicts man opening up to the ontological, ontical and virtual limits.

Music, as such synergy, stands for a projection of man, thus becoming the music of ontological, ontical and virtual striving. From this point of view, not only a specific concept of music is formed, different from other concepts, such as the concepts of music as a number and as an expression, but also an approach to the entire historical musical legacy and to musical practice, including composer’s, performer’s and listener’s activities.

The article is devoted to the analysis of artistic image as a gnoseological image. The concept of variety of cognition types, produced by contemporary epistemology, allows to consider art as a special type of cognitive relation to reality, and artistic image as a form of artistic cognition, a result of reality comprehension. In this case, the artistic image is studied from the viewpoint of two concepts — the knowledge understanding as a reflection of reality and as its construction. The analysis of the artistic image within the frame of the first concept (as a result of reality reflection) is traditional for Russian aesthetics. From this point of view, the artistic image is considered in three aspects — objective (it appears through the reality reflection by art), estimative (the artistic image includes an obvious or concealed estimation of reality) and operational (it is connected with creative transformation of reality in the process of its artistic comprehension). The concept of constructivism allows to consider the artistic cognition in other way, as an intense activity of the subject to construct reality. This article bases its argumentation on the idea, by V.A. Lektorsky, of removing the opposition between realism and constructivism through the recognition of the concept of constructive realism. Thereby, the artistic image is presented as the result of the creative activity of the artwork’s author, who transforms the reality, constructs a new, artistic reality, and the addressee, who is included in the artistic reality through actualization, identification, construction of meanings.

This article discusses the formation of style in Soviet film studies of the late 1920s — early 1930s in the aspect of discussions on art movements and trends in Soviet cinema. Although there are some theoretical and historical film studies on the formation of style trends of that period, much less attention has been paid to the historiography of this matter. Because of the small number of comprehensive historiographic research on this topic, the author decides to study the process of forming classifications of those movements. This article uses traditional research methods, introduces new archival sources into scientific circulation for the first time; and its main tasks are the historiographic study of the subject and the analysis of its key concepts and provisions. The article examines the unity of style in Soviet film studies of the 1920s — early 1930s on the example of works by Nikolay Mikhailovich Iezuitov (1899—1941), one of the founders of Russian film studies, who proposed in 1933 a concept of Soviet cinema development, the main category of which was style. Linking the concepts of “style” and “art movement (trend)”, Iezuitov identified two styles: the one of socialist concepts and the other of socialist feelings. In this, Iezuitov followed the logic of the book “Art Movements in Soviet Cine­ma” (1930) by Adrian Piotrovsky (1898—1937) — the author of the “intellectual” and “emotional” film classification. Iezuitov’s concept was criticized, especially at the jubilee session of the Scientific and Research Sector of the State Institute of Cinematography (now VGIK) in 1934. In the same year, the first history of Soviet cinema “The Ways of Feature Film” was published. It regarded the movements and their contribution to the development of Soviet cinematography according to the criteria of innovation and realism. Socialist realism was declared a platform, a common style that included all the various trends and styles of Soviet cinema. Iezuitov, who died in the war in 1941, did not get a chance to complete his fundamental study “The History of Soviet Film Art”. The story of the victory of socialist rea­lism was declared one of the main tasks of the textbook, and the process of formation of socialist rea­lism became the content of the science of film history. The article shows that socialist realism, as a unity of diversities and contradictions, allowed Iezuitov, on the one hand, to adhere to its normative aesthetics and, on the other hand, to conduct a stylistic analysis of schools and specific movies within this aesthetics.

The article explores the patterns of form making in architecture through the prism of archetypes and archetypal images. Ancient civilizations’ spatial form making is considered in the context of the general system of archetypal images that are the source of meaning formation in an artificial environment. The main advantage of the article is the delimitation of the architectural archetype and the archetypal images in architecture. In this context, the article studies various options for spatial archetypes of the urban environment at the macro and micro levels. The House and the Temple are considered as the fundamental archetypes in architecture. The authors determine the role and place of form making in the contemporary cultural situation.

However, there is noted that the spatial archetypes are a broader concept than just the application field of the architectural archetype. Thus, the article reveals the hierarchy of this cultural phenomenon in the spatial arts. As is often the case in the field of art, it is difficult to draw a clear line between the archetypal and spatial images. The tower, being a perfect example of the architectural archetype, is simultaneously considered by us as a spatial archetype.

The article notes the possibility of a new archetypal image emergence in modern Russia, the general cultural situation of which can be characterized as extremely volatile and ambiguous. Does this suggest creating other archetypal images or just abandoning the traditional ones replacing them with pro-Western patterns? In any case, there is a possibility of creating new mo­dels and images that determine the emergence and development of a new paradigm in the period of global transformations. When creating a new image in culture and art, the archetypes of artistic form making, as well as in its traditional version, leave their imprint on the appearance of the material and spatial environment. The emergence of a new dominant image in the space of Russian architecture and environmental design is determined not only by its creative potential, but also by economic and political reasons, as, for example, in the case of creating a comfortable environment of buildings’ yards. Meanwhile, the yards in Russian culture, in our opinion, can claim the status of an archetype.

We can assume that everyone will remain keeping some ideal space of their own interpretation, associated with their childhood memories, and that is why it is so important for us to preserve the paternal house with its adjacent territory for gaining some psychological comfort. The House and the Temple in this context are almost equal.

The object of the research is the social position and personal axiology of the poet, philosopher and mathematician Alexander Esenin-Volpin. From the second half of the 1960s to the mid-1980s, the human rights movement constituted the core of the Soviet dissidence, and an analysis of the personal axiology and social position of the movement founder permits to understand the specifics of collective identity and of the “human rights activist” behavior model. The purpose of this work is to identify the origins and specificity of the “human rights activist” behavioral pattern, which gradually replaced the “defender” model from nonconformist rhetoric and social practice, and to characterize the axiology and typology of human rights protection. The Legal Note and the Free Philosophical Tractate by Volpin served as the material for this study.

The author claims that the “human rights activist” model of social behavior emerged in the practice of nonconformists during the Sinyavsky—Daniel trial. It differs from the “defender” model implemented by the liberal intelligentsia in the Brodsky case. The “defender” is guided by the absolute value of the individual, invites the authorities to take into account personal characteristics of the defendant when sentencing, which means a selective approach to the law. For the “human rights activist”, the law is universal; compliance with the law not only by citizens, but also by the state is the guarantee of justice.

Volpin laid several theses on the basis of the ideology and axiology of human rights protection: the state is a subject of law, obliged not only to formulate laws for citizens, but also to comply with the prescribed norms itself; Soviet laws are designed to limit the dictates of the state and to protect the citizens; the citizens have legal rights to defend themselves against illegal actions of the state.

The first practical implementation of these ideas — the “glasnost meeting” — showed that the authorities were not prepared for the proposed model of behavior. However, the motivation of the meeting participants mostly fit into the “defender” paradigm; the human rights logic of action and rhetoric were adopted by the community gradually. The Legal Note was written by Volpin to educate nonconformists and popularize human rights ideas.

The article concludes that, thanks to Volpin’s activities, appealing to the rights and the law gradually became the usual rhetorical method in literary and journalistic statements and social actions of dissidents.

The article provides a comparative analysis of the landscape painting of the Russian artist Arkhip Kuindzhi (1842—1910) and the Swiss artist Ferdinand Hodler (1953—1918). In the field of Euro­pean landscape painting of the 19th-20th centuries, these outstanding masters are noted both as aca­demic figures and as innovators. The cosmic vision of the Universe, the emotional perception of nature and high pictorial skill, as well as the passionate service to art, in many ways unite the creative works of A. Kuindzhi and F. Hodler. For the first time, Russian science takes such a view on the study of their work. By applying the formal-stylistic analysis and the iconographic method, it is revealed that there is a certain synchronicity in their movement from realism to synthetic images of nature in their evolutionary development. In their mature and later works, the realistic, romantic, symbolic features are intertwined in various syntheses. In their spacing solutions, the ornamentalism of Hodler is comparable to the decorativism of Kuindzhi. The artists intersect in the iconographic aspect, addressing to similar motifs, for example: a single tree, a group of trees, mountain peaks, sunsets. The artists’ works are comparable in terms of generalization, selection and application of rhythm in the organization of painting composition. There are ideas of the sublime and the “planetary” of the Universe in the landscapes of A. Kuindzhi and F. Hodler. The artists’ goal to create a genera­lized image of nature is correlated with the movement to a symbol. This comparative analysis is some kind of a bridge between Russian and Swiss cultures, and it confirms the idea that Kuindzhi and Hodler crea­ted the landscapes-ideas in which there were both a subjective vision of the Universe and an innovative painting form of images of nature. Their works influenced the development of European landscape painting in the 20th century.

Over the past few years, the issue of developing common criteria for assessing the significance of urban art works has been constantly discussed in the context of the dialogue between the government and society. Meanwhile, the decisions made by local authorities (for example, deputies of the Moscow City Duma and the Legislative Assembly of St. Petersburg) are always of a private nature and do not rest upon a single science-based approach to legalizing the placement of urban art works in the urban environment. This study is aimed at justifying the use of qualimetric methods in a comprehensive assessment of the significance of urban art works. The study’s methodology is presented by comparative and qualimetric methods for evaluating the aesthetic parameters of urban art works. The article notes the complexity of the assessment due to the pronounced specificity that makes it difficult to interpret urban art unambiguously. Basing on the methodological principles of artworks examination (technography, technology, iconography and iconology), the authors propose a number of criteria for evaluating rational and emotional aspects of the significance of urban art objects. To evaluate an art object for each of the criteria, the article offers its own qualimetric scale. It can be described using a set of “points”, for example, from 1 to 10, where the lowest (1) and the highest (10) levels are described in strict and understandable terms, and the middle points (from 2 to 9) are determined by an expert basing on the extent of difference between the level detected by the expert and the two specified extreme levels for this particular art object. With their help, the derived figures can be translated into evaluation categories, thus obtaining particular assessments that are separate for each criterion, and the final value can be derived from a generalization of the particular assessments. The scientific novelty of the study is determined by the fact that the qualimetric method can provide a systematic approach to assessing the rational and emotional aspects of artistic interpretation of urban art objects. The method’s practical application can provide a compromise for the opposing parties struggling to claim the “rights to the city”, and regulate the visual culture of public spaces on an objective scientific basis.

The article presents the results of a comprehensive study of the illustrated collection of stories of the late 17th—18th century, which was conducted in 2018 and is a substantial part of the process of scientific restoration, one of the priority areas of the Russian State Library’s (RSL) activity. Library collections restoration pays special attention to manuscript sources. The document arrived from the Department of Manuscripts (coll. 178.1, no. 315) to the Department of Restoration of Library Collection for the planned restoration activities connected with the poor preservation status. The study of archival and literature sources was complemented by the application of modern methods for analyzing the composition of the document’s materials (the paper, ink, adhesives, and the paint layer of the miniatures). This technique allowed to settle a range of tasks necessary for developing a plan for further scientific restoration of the document: to characterize the materials of the manuscript and the paint layer of the miniatures and to analyse the existing losses and their causes. The manuscript contains 212 pages. Its artistic decoration includes illustrations to the stories (165 miniatures); headings written by ligature; red initials with ornamental appendices. The original text is written with black ink made on the basis of amorphous carbon and red ink on the basis of cinnabar (HgS). The last (binding) page has an owner’s entry, which is made with ink of iron gall nature likewise some marginalia in the margins. The paint layer of the miniatures contains protein as a binder; the pigments are ochre, azurite and cinnabar in a mixture with red lead. Several types of adhesives, used in previous (probably even pre-revolutionary) interventions, indicate the time diversity of their use. Based on the results of the study, methods have been selected and a plan of scientific restoration of the monument has been developed. It includes necessary interventions (taking into account their remote effects) that preserve as much as possible the manuscript’s features, which contain valuable information for researchers about the environment of its existence (notes, marginalia, etc.); its manufacturing techniques; processes occurring during its storage.

Historians have long been studying in detail the story of I.V. Stalin visiting V.I. Lenin in Razliv. The main subject of their interest is whether this event took place in reality. Most of modern authors agree that it did not. This article does not dispute this verdict, because it is not about the event itself, but about the history of the mythologeme’s origin and the forms of its representation in the culture of the Stalin era.

Researchers have not ye raised the question of why this story was introduced by Stalin into the updated version of his own official biography only thirty years after the events described in it. Meanwhile, appealing to it makes it possible not only to comprehend the reasons and goals of mythologizing individual episodes of the leader’s biography at the culmination stage of building his cult, but also to study the methods and forms of using cultural tools to achieve such goals.

The article focuses mainly on visual representations of the mythological story. However, it was important not only to analyze and classify the new unstudied iconographic schemes that had never been studied by anyone before, but also to see them in a historical and cultural context. This approach made it possible to demonstrate how the Soviet representation strategies had been “working” under the conditions of the permanent expansion of the leader’s “life story”, as well as how the universally proclaimed slogan about the immense veneration of the teacher Lenin by his student Stalin had been adjusted over time. The fact that the story of “Stalin in Razliv” had remained for a long time beyond the attention of the leader himself and the ideologists of his cult (i.e. it had been considered unworthy of special efforts) and was included in his biography only seven years before his death, makes the analysis proposed in the article even more comprehensive.

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