The typology of cultures is one of the significant issues in the humanities and social studies, and it is becoming very important in the current era of globalization growth. The purpose of the present research is to analyze existing academic concepts and approaches towards cultures typology. The research is of an interdisciplinary nature and involves categories and concepts from philosophy, cultural studies, sociology, management, etc.

There is presented a brief overview of cultures typology scientific concepts. The article reveals that notable researches follow dynamic approach towards cultures typology influenced by current globalization trends rather than static models of sociocultural systems typology. Currently, most of sociocultural systems have to adapt or transform in order to cope with globalization trends. Authors underline the need to change the paradigm of academic understanding of cultures typology and to update approaches for cultures typology model development.

The authors presume that following the idea that the globalization core is coming from the Western civilization, the countries that push for technological revolution 4.0 are forced to focus on the centered ideological and semantic patterns where the Westerners could define points of demarcation with representatives of non-Western societies. This explains the tendency of comparative management theorists to measure the degree of cultural distance between countries. In this context, the theory of cultural and orientation values types seems to be one of the most promising methods of cultures typology.

Following the structural-system approach, the authors determine a culture as a mega-system consisting of the main macro-systems (macro-cultures) and sub-systems (micro-cultures). The article stresses that globalization challenges push countries all over the world to think of the need to develop a common basis for mutual understanding. The authors suggest that the formation of a global network civilization as a mega-culture, in which the opportunities for communication between different cultures are more developed due to innovative technologies, should become a confident answer to existing global challenges.

Addressing the phenomenon of Russian rock, the authors proceed from the theoretical assumptions that the process of “disenchantment” (M. Weber), which began in the new European world in the 16th century and is still going on, has led to the inescapable domination of the logic of ordinary sensus communis or common sense in it, which has betrayed the sacred and is rooted in the structures of everyday life. One of the very few domains that exist on grounds other than common sense is the world of rock music. This is the point of view from which the article analyzes Russian rock. The authors show that the otherness of the worlds of Russian rock music is established by musicians in various ways. The article explicates what symbolic resources are used for their establishment and assembly. These are Buddhist symbols (“Aquarium”), and images of the ancient Egyptian and Medieval worlds (“Piknik”), and the grotesque and paradoxical poetics of the OBERIU members (“AuktYon”), and the tradition of alchemy (“Orgia Pravednikov”). The article reveals that the overall otherness of Russian rock can be clarified by the concept of carnival modification by M.M. Bakhtin, who wrote that over time, the carnival would move from the square to the symbolic dimension of culture. One of these manifestations of carnivality in the cultural and symbolic dimension of the world is Russian rock, where everything is built on a game that unfolds on the other side of the “common sense-feeling” with its inherent monologism and absolute indifference to the experience of a unique “I”. In general, the game element serves in Russian rock for questioning the values of the mass world, their problematization. It is also important that Russian rock manages to develop its own special language of symbols to express the carnival worldview. This article discusses those of them that cast the position of “here-being” “I” and value orientations of the authors of Russian rock poetry: the mortal or macabre symbolism, the kingdom or tsardom, the images of zoomorphic and ornithomorphic creatures, and the carnival itself as a symbol of otherness and freedom. By abolishing social givens, predicates and assignments, rock music attacks the “I” form as a “package” of the self, produced by a certain subject positionality, and the “I” is drawn into the game of both “I” forms and subject positionalities. This inevitably leads to a “re-evaluation of the value” and “I” form, and subject positionality — renewal of the perspective of vision of the “world” and yourself in it — behind which stands “the acquisition of a new spiritual state” (W. Benjamin). Russian rock is puzzled by the search for a way of spiritual transformation, transformation of the “I”, and this is why it is valuable for us.

At the turn of the 20th—21st centuries, musical culture transformation processes have been actively actualized, which is manifested in the use of digital and visual technologies by musicians, direc tors, producers, visual designers. The stages of transformation of modern musical culture have become relevant precisely for the reason that at the turn of the 20th—21st centuries, mass communication media have begun a process of transition to new digital technologies of implementation and delivery of audiovisual information to modern listeners. Modern specialists, by their activity’s results and its great popularity, prove the relationship bet ween the artistic idea of the work they create and the technical and technological means of its implementation. Thus, in the musical culture of the turn of the 20th—21st centuries, virtual anime characters and Vocaloid performers, whose functioning is actively connected with the use of digital technologies, are particularly relevant and popular. In particular, the creative activities of British musician D. Gahan, Vocaloid anime performers — H. Miku, Kaito, K/DA group, are based on the use of such digitization elements as projection on a translucent screen, expansion of one, often two screens, creation of two- and three-dimensional projection, etc. Animation technologies used in the process of creating modern video clips contribute to the implementation of a wide range of creative and experimental opportunities for directors, in particular, such a technique for creating and broadcasting concert performances as virtual reality has been actualized. Digital technologies also provide opportunities to significantly expand the scope of the range and timbre arsenal of virtual performers, and satisfy a variety of aesthetic tastes of the public.

In the context of studying the history of Russian printed fabrics industry, the article analyzes the legacy of Robert Forrer, a Swiss art historian. There are very few publications about this outstanding researcher in Western European historiography. The only sources in Russian telling about R. Forrer are publications by T.A. Dolgodrova. The article deals with issues not covered by T.A. Dolgodrova. In particular, the article analyzes in more detail two R. Forrer’s monumental monographs that laid the foundation for studying printed fabrics. The historian did not study Russian printed fabrics specifically - the analysis of Russian prints production is based on just one item, and even this of only supposedly Russian work. However, the data he studied are very valuable for the subject of our interest. R. Forrer provides sources unknown in Russia that describe the trade in cotton prints at the Nizhny Novgorod fair; valuable information about the first Russian manufactories foundation in Ivanovo and Moscow; information about the technical equipment of the Shlisselburg Manufactory in the 1810s. Special attention should be paid to the process of producing a unique handkerchief ordered by Emperor Alexander I at a Swiss factory owned by Eduard Reiner where R. Forrer’s great-grandfather worked. The information about Russian printed fabrics production collected and presented by R. Forrer is of great practical importance. The printed fabrics of other countries in the works of R. Forrer are also of interest for studying the ways by which the European samples entered Russia.

The article discusses the history and existence of Konstantin Somov’s painting “Non-Existent Porcelain”: The relevance of the topic is determined by the fact that the “Non-Existent Porcelain” for the first time becomes an object of study as a painting and a collectible. The scientific novelty of the article lies in the fact that it attempts to identify the artistic sources of this work (Titian, engravings from his painting “Venus with a Mirror”) and examines the attitude of K.A. Somov to this master artist. The author uses the method of complex analysis, combining a source analysis of K.A. Somov’s diaries and letters, and a traditional formal analysis of his painting “Non-Existent Porcelain” in comparison with the painting of Titian and engravings from it. The article traces the painting’s creation, identifies the sources from the creative heritage of the artist and European art. There are analyzed the artistic features of the painting, the period when it was in V.N. Gordin’s ownership and in the collection of E.A. Gunst. This study allows to expand the existing ideas about the artist’s visual sources of creativity.

The article reveals that Titian’s painting “Venus with a Mirror” served as a source of the figure of a naked bather in the painting “Non-Existent Porcelain”. A hypothesis has also been put forward on the artist’s likely appeal to contre-épreuve reproductions of European masters of the 18th — 19th centuries from this painting, primarily the engravings of Johann Friedrich Leybold. The author concludes that K.A. Somov’s working over the painting “Non-Existent Porcelain” was in line with his working with a variety of sources from the heritage of European art, including his search for sources for depiction of nudity.

The article aims to analyze the film directing experience of R.A. Bykov and K.G. Muratova, who embody the principles of alternative Soviet cinema. As our research shows, they are united not only by the epoch, but also by archetypal representativeness and personal marginality. This is embodied in the paradoxes of film directing, which are the subject of this research. Both R.A. Bykov and K.G. Muratova were somehow disavowed by the totalitarian regime, and their works were censored. In R.A. Bykov’s case, we also mean his acting work, not just directing. This research is relevant because of the problems of analyzing the narrative content of Russian cinema, and the characteristics of the complex and ambiguous Soviet and post-Soviet period of Russian culture.

The article deals with a psychoanalytic discourse of the creators, reveals the common and specific in their lives and works. Its use is justified due to the paradoxes of the creative personality. According to the author, R.A. Bykov’s inferiority complex is associated with his desire to be the best and to realize his potential in all participation areas: not only as a director and actor but also as an organizer and public figure. K.G. Muratova was forced to constantly prove her existence in film directing due to the specifics of this “non- feminine” kind of activity, and therefore she was creating films that did not correspond to gender stereotypes.

The article substantiates that the determining factor of creativity is, first, the psychological characteristics of the creator’s personality, and secondly, the social context. The author’s task is to test the psychoanalytic discursive method adapted to the main purpose of cultural analysis.

This is explained by the fact that for both the authors, a grotesque theatricalization was a way to comprehend reality and figuratively express their ideas about it, an opportunity to preserve viability in socially and morally intolerant conditions. Archetypal images are the basis for building the drama of a cinematic work. In this article, in the context of R.A. Bykov’s works, the archetypal approach is applied to the film “Aybolit-66” (1967), in the context of K.G. Muratova’s works — to the film “Three Stories” (1997). This allows us to present an in-depth analysis of the main elements of their works, since a single frame or episode is typical for representation of great artists’ works. The author analyzes the male and female archetype, as well as the prototypes of the Child and the Elder implemented in the films. The directors’ appeal to them is dictated by logic, since, according to C. Jung, patterns, being part of the collective unconscious, are universal at the same time when creating and reading a work.

This article examines the cultural aspects of museum documentation as a process of identifying items to be preserved and actualized as historical documents. In the system of concepts of museum technology, it is designated as a selection process, from the point of view of museum philosophy — as implementation of the specific/museum’s attitude to reality. In the categories of cultural studies, the documentation can be considered as a subject-contextual transfer of things. This case’s formation can be now traced in the articles by J. Dolák, A.N. Balash, A.A. Nikonova, E.V. Abroskina.

Basing on the analysis of published materials of the art historian G.L. Dain’s expedition diaries, the article considers the path of a thing to a museum. In addition to institutional factors, the range of her research setting includes the scientific credo of a scientist with a pronounced cultural discourse. This is “the study of toys in living connections with folk life and art, as part of the entire complex of children’s culture”, the knowledge of “the spiritual side of the mechanism of succession in folk culture”. On its basis, a corpus of individual field work methods is formed, relevant to the logic of the modern interpretive turn in the cultural sciences. Their initial message is the perception of a thing as a textual model of national culture, the setting on its multi-layer readability based on the idea of culture as a text. The article considers the subject-contextual transfer of things on the examples of acquiring the items of Bashkir, Chukchi, Eskimo and Buryat traditional cultures for museum collections. Special attention is paid to recreating things from memory by the bearers of the tradition. As a result, a conclusion is made about the five-component structure of the museum documentation process, which includes: cultural metareality — thing — document — object of museum value — museum object. The logic of transformations of things is concretized by the scheme of systematic cultural analysis: document — text — context — discourse — interpretation.

The article is devoted to L.I. Strakhovsky (alias Leonid Chatsky; 1898—1963), a Russian writer and poet of the first wave of emigration, and his poetry and prose reflected in foreign publications of his works in Russian. Returning to our culture the name of this author, now half-forgotten in his homeland, and introducing this name into literary studies, the article tries to reveal the thematic and stylistic diversity of L.I. Strakhovsky’s poetry and prose. The research’s object is foreign publications of L.I. Strakhovsky’s artistic works in separate books, almanacs and periodicals published in Belgium, Germany, Canada and identified through collection catalogues of leading Russian libraries (the Russian State library, the Alexander Solzhenitsyn House of Russia Abroad) and library resources that display foreign Russian-language publications by L.I. Strakhovsky. The article highlights and analyzes the main stylistic (symbolism, acmeism, “junior acmeism”) and thematic (autobiographical, English, mystical) components of L.I. Strakhovsky’s works, reveals the components’ individual features, the originality of their constancy and mutual influence. The main of these features is that L.I. Strakhovsky’s works can be stylistically periodized on the basis of the author’s increased propensity to cyclize his works though without creative evolution in the usual sense and with the stable nature of his working throughout his life. To review the publications and analyze the nature of L.I. Strakhovsky’s works, the article draws on the context of Russian and emigrant literature of his era, creatively associated with L.I. Strakhovsky and its main figures, and notes his literary and cultural influence.

The article examines Chinese folk art, which not only has pronounced national features, but also is a cultural treasure of the nation. Chinese folklore consists of myths, legends, fables, funny stories, fairy tales and tales about life, about animals, as well as works that describe famous historical figures, praise the love of the motherland. The texts clearly demonstrate the motives of admiration for the characters, give positive assessments of labor skills, analyze the characteristics of local traditions, customs and life. The folklore is an integral part of traditional Chinese culture. It educates, shapes the worldview, morals and ethics of the Chinese people. Folklore works become a kind of stage on which the life conflicts of non-heroic existence of an ordinary person with simple cultural interests (for example, communication, participation in rituals, hospitality, etc.) are played out.

The article presents translations of original stories from Chinese into Russian, on the example of which it analyzes the cultural values of Chinese folklore works from the point of view of philosophy. The research is carried out using contextual, linguoculturological methods, as well as methods of analysis and synthesis. The presented research has an interdisciplinary character, because it is performed at the intersection of cultural studies and linguoculturology, folklore studies and translation studies.

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