The article aims at a multidimensional discussion of the little-explored topic of the dramatic content of the philosophical problems in the works of F.M. Dostoevsky (1821—1881). There is proved that it was this feature of creativity that made the writer, with his philosophy of life and sharp, dramatically effective plot and psychological collisions, the most desirable and very productive author for the Russian theater art.

Polyphony, dialogism, combined with the features of the tragic genre, are the basis for numerous theatrical embodiments of novels and novellas by F.M. Dostoevsky. The intensity of the action in his works gave rise to the expressions “novel-drama” or “drama in a novel”, “novel-tragedy”, and in theatrical practice it created the ground for the transformation of moral and philosophical problems into active stage action.

The article reveals the context of F.M. Dostoevsky’s works — the time and conditions for the emergence of novels and novellas, the problem field that united and separated him from the works of his predecessors and contemporaries, which is done on the basis of a brief description of several aspects of the philosophical-aesthetic and socio-moral systems. In this context, according to our concept, a special place is occupied by the idea that life in Russia is absurd and ridiculous, and the reflection of the absurd is the most important artistic paradigm.

The article proves that the analyzed philosophy of F.M. Dostoevsky’s life received polar genre embodiments in the theater. Thus, the dramatic and melodramatic beginning was characteristic of the performances that had in their center the so-called little man. The article presents an understanding of the most remarkable performances of the second half of the 20th and the beginning of the 21st century: “The Idiot” by G. Tovstonogov, with a new trend of searching for a “positively beautiful” person, which had a significant impact on many theatrical experiences in Russia; “The Petersburg Dreams” by Yu. Zavadsky, as a unique experience for Soviet art of creating a tragic work in full accordance with the aesthetic characteristics of this genre; “And I Will Go, and I Will Go” by V. Fokin, as the last emotional outburst of the young generation of Soviet creators who thought in the moral and psychological parameters of F.M. Dostoevsky’s characters; “The Karamazovs” by K. Bogomolov — a postmodern experience of an absurdist reading of the multifaceted text of the classic.

In the works of the writer and their theatrical embodiment, the article notes the signs of a carnival worldview, a combination of grotesque and subtle psychologism in the stage versions of F.M. Dostoevsky (in particular, when working with ironic and satirical texts, “Uncle’s Dream” and especially “The Village of Stepanchikovo”, where sympathy and negative connotations are integrated into a single artistic space). The article correlates the writer’s works existential interpretations by theatrical creators of the 20th and early 21st centuries with socially significant problems, life choices, and dramatic conflicts that characterize Dostoevsky’s philosophy.

The article considers the most significant issues of cultural development of Russian small and medium-sizes cities, in the era of globalization, in the context of such major social threats as the erosion of national and cultural identity, the loss of traditional cultural landscape and the reduction of cultural capital.

Analyzing the legislative and financial bases of cultural policy in small and medium-sized cities of Russia, the author identifies the key problem areas of the state cultural policy.

The empirical base of the study was obtained during the implementation of two research projects conducted in 2015 and 2019, the main methods of which had been document analysis, expert interviewing and case studies of the most successful projects in the field of culture. The data of specific sociological studies allowed us to consider the state of the cultural sphere in small and medium-sized cities and to identify the role of cultural activity of urban communities in the cultural process. The results of the case method indicate the most successful and effective projects in the cultural sphere, implemented on the basis of public-private partnership with the involvement of civil society.

The article draws conclusions about potential directions of cultural policy in small and medium-sized cities of Russia, including investments, creation of urban development strategies and interaction with local communities.

Underwater cultural heritage and issues related to its study, preservation and museumification are increasingly emerging in the Russian museological and cultural discourse. Major engineering projects that affect the seabed require underwater archaeological surveys, followed by preservation of underwater artifacts.

The process of underwater cultural heritage preservation and actualization in the coastal zone is increasingly taking the popular approach — creation of underwater parks and routes. The theory of formation of underwater parks as museum-type institutions and the development of opportunities for preserving cultural heritage in the underwater environment attract the attention of subject matter specialists. At the same time, the approaches to organizing the ground structure of these institutions do not receive enough attention from researchers.

This paper aims at forming a structural concept of an underwater park’s visitor center. The article identifies the main studies concerning the theoretical basis of designing underwater parks and forming visitor centers, highlights the possible tasks, and defines the key functions and structural content of an underwater park’s visitor center.

The research is based on Russian and foreign theoretical studies, primarily by authors from the Mediterranean countries. The article considers the design of visitor centers through the prism of mainly Russian works devoted to the creation of visitor centers and museums on the basis of land-based specially protected natural areas.

In conclusion, the article highlights promising areas for further research in relation to underwater parks and the methodology for preserving and updating underwater cultural heritage with their help.

This article explores the typology of visual means of modern music videos on the television screen and their impact on the audience. For the first time, there are studied the distinctive features of building visual series of music videos basing on three types of musical compositions. The structure of the visual series is based on their connection with the plot features of the work and their impact on the viewer based on the sense of belonging of the audience to what is happening on the screen, attracting their attention to the aesthetic opportunities of music video products.

The article examines the features of building visual series in combination with visual means of music videos. There are considered the origin, periods of development and features of the visual series of music videos. The basis for drawing the foundations of cinema to the visual and expressive means of music videos is its aesthetics, which contributes to constructive transformations in the development of new, modern means of computer technologies. The use of cinematic aesthetics contributes to the development of the narrative thought of music videos. In this study, the following typology of visual video series is highlighted: plot, illustrative, parallel; some examples of music videos are given. There is established that each of the considered visual series of videos is based on the features of the musical content of the work and its plot construction. This is based on a specific perception by the viewer, which causes penetration into the image, a sense of belonging to what is happening on the screen, and feelings for the characters. The article concludes that the viewer’s perception is influenced, to a certain, extent by the features of the visual series of videos, which have their own contrapuntal aesthetics, coupled with the general idea of the music video and the differences in the performer’s vision of the composition.

The article is devoted to the manifestations of musicality in N.S. Leskov’s works and its influence on other artworks created on the writer’s plots (specifically, in the genre of opera). The author focuses on the tale “The Left-Hander”, using as examples phrases of one of the characters, Ataman Platov.

The approach proposed by the author is based on a structural, genre and intonation-rhythmic analysis of the primary source text, with documentation of its features. The potential intonation and rhythmic variants of reading individual literary phrases, recorded using conventional musical notation, allow not only to visually compare the shades of their semantic content, but also to correlate them with the musical versions presented in R.K. Shchedrin’s opera “The Left-Hander” (2013). The correlation of the graphic schemes of intonation structures of textual and melodic phrases allows to substantively determine the correspondences and discrepancies in them. In addition, the article notes such musical expressive means that make it possible to convey the intonation of characters’ speech and to outline the characteristic features of their image, such as timbre, tempo, dynamics, etc.

Basing on the conducted research, the author makes a conclusion about the influence of text intonations on the formation of perception of characters’ image and the melody of their “musical” speech.

The method of intonation-rhythmic analysis of a prosaic literary text, proposed by the author, is a new development in the field of studying the problems of the mutual influence of literature and music; it can find wide application in research in this direction.

The article presents a focused look at the professional relations of the composer and pianist Anton Grigoryevich Rubinstein (1829—1894) with his main Russian publishers — V.V. Bessel and P.I. Jurgenson. The article is based on musical and historical research concerning the history of the Bessel and Jurgenson publishing houses, works on copyright, A.G. Rubinstein’s epistolary, and archival documents from the Russian National Museum of Music. For the first time in music science, there are revealed some pages of the history of personal and business contacts of the three named persons, primarily the conflicts related to the rights to publish the composer’s works in Russia. The first documented contract for the publications of A.G. Rubinstein was received by P.I. Jurgenson (for op. 82, 1868). However, the contract of A.G. Rubinstein with the trading house “Bessel and Co.”, concluded in 1871 (though Rubinstein’s first work had been published by Bessel two years earlier), was much more extensive and significant. Under this contract, it was supposed to publish more than fifty A.G. Rubinstein’s works of various genres, so in the 1870s, V.V. Bessel became the main Russian publisher of the composer. However, in 1879, A.G. Rubinstein unexpectedly changed his main publisher in Russia. This position was taken by P.I. Jurgenson, whose trading house also published an extensive list of Rubinstein’s compositions, as well as his literary works. This is evidenced by several notarized contracts, stored in the Russian National Museum of Music, between Rubinstein and “P.I. Jurgenson” company. Thus, the two leading Russian publishers of A.G. Rubinstein legally formalized their relations with the composer, which allows us to follow, in a reasoned and substantive way, the process of maturation of the institution of copyright for music publications in Russia in the last third of the 19th century.

Using the example of A.G. Rubinstein, in comparison with the position of M.A. Balakirev, the article also raises the issue of granting copyright to a publisher not only in Russia, but also “forever and for all countries”. The comparative analysis of publications of the same composer by different publishing companies is also new to Russian musicology, this helps identify certain accents that publishers put in popularizing A.G. Rubinstein’s works. The publication of the composer’s works by various publishers also highlights new aspects in his creative process, in the history of the creation, receipt of the opus number, and the titles of some of his works.

The article considers the gender culture in the family, one of the most closed and local socio-cultural institutions. The relevance of this topic is determined by the anthropological turn in modern humanitarian knowledge, and the involvement of new data in scientific circulation, which is obtained as a result of the use of case-study semi-formalized techniques for interviewing respondents. Thus, on the basis of the interviews received, there are reconstructed contradictory forms of gender identity in a young married couple in Perm. The article presents the materials of the respondents’ interviews in the form of narratives consistently presenting the key stages of the relationship. Gradually, the narrative’s characters begin to construct a gender identity in a new cultural institution – their own family. There can be seen a conflict between the characters’ symbolic self-identity and their real practices. The man takes a dominant role in the beginning of the relationship. He objectifies the woman and alone decides when to start the relationship. Then the situation changes. The man’s dominant role is replaced with a passive one. The initiative goes to the woman, who repeats the man’s behavior. At the same time, it turns out that in everyday life, the respondents fill the roles of the husband and wife with special content. The wife’s role includes the mother’s behavior towards her husband, and the husband’s role includes the child’s behavior towards his wife. The family is an inverse patriarchal type of relationship. The woman has a dominant role, but identifies herself as an obedient wife.

The article is devoted to the reflection of Bulgarian literary modernism of the 20th century in Bulgarian publications in Russian. The relevance of the article is supported by the fragmentary assimilation of Bulgarian modernism by Russian literary studies, which is insufficient to carry out the necessary completeness of the intercultural dialogue, given that the Bulgarian modernists largely focused in their work on the achievements of Russian symbolism and the Silver Age as a whole. The author traces the local features of the development of modernism in Bulgaria, which determine the validity of including in it the trends of symbolism and expressionism, often appearing in Bulgarian literature in syncretism. The article concretizes the stylistic and thematic uniformity of a number of Bulgarian literary phenomena of the 20th century, which proves the self-sufficiency of Bulgarian modernism as a full-fledged trend. Based on the material of Russian-language publications issued in Bulgaria and reflected in the database of the Bibliography Department of the Russian State Library “Books in Russian Published Abroad, 1927—1991”, the article identifies the main representatives of Bulgarian literary modernism: P. Todorov, P. Yavorov, A. Dalchev, A. Strashimirov, N. Furnadzhiev, A. Karalichev, D. Debelyanov, G. Milev, N. Rainov, T. Trayanov. The author attempts to determine a specific place for each of them within the framework of the considered trend. On the basis of individual and collective publications identified when accessing the specified database, the article outlines the main features of the creative method and style of each of the authors under consideration, which are supported by examples from the texts. The author draws conclusions about the degree of completeness of Bulgarian modernism adaptation for Russian-speaking readers, which remains insufficient due to the limited number of translations, the tendentious selection of works for translation in the light of the ideological restrictions of the Soviet era, the disregard of a number of leading authors, and the lack of modern reprints and popularization of the accumulated body of translations.

The article is devoted to the study of reader’s practices related to the several centuries of existence of French historical books of the second half of the 16th century, the books’ place in people’s lives and attitude to them. The study’s source base is represented by a body of identified book marginalia from the copies of Parisian publications stored in the National Library of France and the Rare Books Department (Book Museum) of the Russian State Library. The handwritten notes (396 marginalia have been identified and are being introduced into scientific circulation) that are dated belong to the second half of the 16th—20th centuries inclusive. In the second half of the 16th century, printed books in France became the determinant source of intellectual thought, and their role in the lives of educated people increased significantly. The spread of printed books, their influence on the minds of ordinary people and their authority in society contributed to the appearance of a large number of handwritten notes made by readers at different times and on different occasions.

The author offers his own content-based classification of the body of marginalia identified by him and gives a detailed description of the studied material. There are three main groups of the marginalia: the records related to the content of the book, the records related to the book itself, and the records not related to the book. The first group consists of 2 types of records: textual records and comments. The second group is divided into 3 types: library records, owner’s records, and other informational records related to the content of the book. A separate group consists of the informational records that are not related to the book.

The analysis made it possible to assess the information value and potential of marginalia as historical and psychological sources that allow (in combination with other sources) to study, in a historical context, the cultural and mental characteristics of people of different eras, the existence of books in society, and the book and library traditions of different regions of Europe.

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