One of the most important characteristics of generations in the modern humanities is the indication of the recreation of traditional cultural values while producing new cultural practices. The article accumulates data of a sociological study of young people (2018, an online survey of 774 respondents aged 18—21) born at the junction of two conventional generations. As one of the criteria of socio-cultural reproduction, the article suggests using the age of the debut and consolidation of various events related to the field of culture into permanent practice. Based on quantitative data (the age of starting, average age, percentage of coverage or exclusion from the event), the authors prove that traditional practices (reading, organizing additional education, visiting libraries, theater, etc.) are consolidated at an earlier age (preschool and primary school). In the article, new socio-cultural practices are designated as not normative, typical, and ubiquitous for children, but already quite mass events in comparison with the historical and social situation of the 20th century. These are innovative practices (including the practice of mastering the information and communication technologies and the Internet), independent actions of young actors in the field of consumer culture, and some manipulations with the body (tattooing, piercing, etc.) that, according to the study, manifest themselves in adolescence and youth. The article identifies a stable group of young people (from complete urban families of the middle economic level) who undergo the traditional eventfulness and are therefore close to the generation of their parents. The authors substantiate the necessity of working to support the socio-cultural reproduction in adolescence.

Russian science has not yet developed a stable understanding of the essence and generic affiliation of television, which continues to have a powerful multidirectional impact on the cultural and social processes of our time. The proposed characteristic of television as an independent cultural and communicative system allows highlighting its functioning as a separate cultural phenomenon that cannot be reduced to other forms of communicative activity. At the same time, in line with the system-cultural approach, the article substantiates the interaction of the main system-forming factors within the television system: those are artistic-entertaining, economic, informational, political, and technological. Constant consideration of all these factors when examining any aspect of television communication should become the methodological basis for studying television as a system.

A system-diachronic analysis of television, revealing the main directions of its nonlinear development through the mutual influence of the system-forming factors, allowed drawing the following conclusions.

Modern television is increasingly acting not so much as a means, but as a method of communication. This leads to a reduction in the significance of the content of a television utterance and, conversely, to the absolutization of the format, which determines both the content itself and the ritualized processes of television communication.

Significant changes in television communication occurred in the first decades of the 21st century under the influence of Internet technologies: the individualization of television viewing and the spread of “out-of-studio” forms of television production, the improvement of image quality and the democratization of video recording technologies leads to the fact that television ceases to perceive itself as a utilitarian means of broadcasting off-screen reality, and is increasingly positioned as an independent cultural source.

Television in the 21st century has expanded its boundaries, having absorbed the vast sphere of Internet and video communications. The modern television system can be understood as a set of audiovisual messages intended for public display and perceived in non-specialized everyday living conditions.

This article reveals the phenomenon of multilayer of the television screen space, updated in the 21st century thanks to creative methods and technical means related to the information era. The relevance of the topic under study is based on the permanent changeability of the technologies for creating visual constructs on the screen. The author traces the evolution of the original techniques of supplementing the composition of the shot in a historical context: from the classical caption to the artistic and expressive computer embodiment of graphic or other visual objects, including a simulacrum, corresponding to the properties of the concept of “additional visuals”. During the study, a rigorous analysis of the screen space is carried out when additional visuals pass into the status of augmented reality. In the view of studying the visual component of the television footage, the article draws close attention to the extra-spatial nature of the objects of the expressive compositional structure of the frame, and the variety of presentation of the composition components in the context of the multivisuality of the screen. The vertical frame composition is another subject of this study related to the use of mobile devices with video recording function. The article provides examples of using smartphones with a vertically located screen in video shooting, taking into account not only convenience, but also changes in the visual range, concentrated audience perception of the content. The filling of the screen space reveals new aspects in the construction of multi-valued compositions of the frame. Against this background, further developments in the research field of additional visuals on the television screen are very important. In this regard, this publication may be of interest to specialists in the field of media, as well as a wide range of readers and viewers.

This article aims at analyzing the genre features of the 20th century animalistic art as a special, original phenomenon of Russian artistic culture. There are highlighted the aspects that make up its content basis. The author considers the issues of human perception of an animal, attitude to it, the system of views on the world of flora and fauna, the methods of interpretation of animals and birds. Together, they form the specific characteristics of animalistic art, which appeared in their organized and integral form in the 20th century. The article is relevant because the relationship between human and nature is being more and more re-evaluated, which is why the ideological features and the system of views of the 20th century artists are getting increasingly important (in particular, in the historical and artistic aspect).

Animalistic art, having become noticeable as a genre already in the 18th century, passed through the entire 19th century, and crystallized in the 20th century in the most characteristic, typical features in various types of fine arts (graphics, painting, sculpture and their varieties). There is no doubt that among other genres of fine art, animalistic art is an original visual and plastic phenomenon that is fundamentally different from the art that depicts a person. The article notes that the complexity of animalistic art lies in the properties of human perception, which is prone to subjective evaluation and, accordingly, gives an animal human traits. The principle of “imitation” of nature, the study of nature, being constantly followed by artists, pointed to the overcoming of the subjective moment and became the leading one in composing the figurative concept of an animal.

Over three and a half centuries, the genre of flower still life created by Dutch artists experienced ups of interest and oblivion. There were the maximum assessment of society in the form of high fees of the 17th century artists; the criticism of connoisseurs and art theorists; the neglect in the 19th century and the rise of auction prices and close attention of art critics, manifested from the middle of the 20th century to the present day. In the middle of the 17th century, there was already a hierarchy of genres, based on both the subject and the size of the paintings, which was reflected in the price. Still lifes and landscapes were cheaper than allegorical and historical scenes, but there were exceptions, for example, in the works of Jan Brueghel the Elder and Jan Davidsz. de Heem. Art theorists Willem van Hoogstraten and Arnold Houbraken, resting upon academic tastes, downplayed the importance of still-life painting. Meanwhile, the artists themselves, determining the worth of their paintings, sought for maximum naturalism, and such paintings were sold well.

In the 20th century, this genre attracted the attention of collectors in Europe and the United States. A revival of interest in Dutch still lifes in general, and in flower ones in particular, began in the 20th century, the paintings rose in price at auctions, and collecting them became almost a fashion. Art societies and art dealers of the Netherlands and Belgium organized several small exhibitions of still lifes. The course for studying symbolic messages in still lifes, presented by Ingvar Bergström, is continued by Eddie de Jong, who emphasizes the diverse nature of symbolism in Dutch painting of the 17th century. Svetlana Alpers, on the contrary, criticizes the iconological method and presents the Dutch painting of that period as an example of visual culture. Norman Bryson’s view of Dutch still lifes is formed against the background of the development of a consumer society, economic prosperity and abundance. Finally, there has been an increasing interest in the natural science aspects of flower still-life painting in the researches of the last twenty years. Curiosity, skill, and admiration for nature are the impulses that can still be felt in the images of bouquets and fruits.

The article considers seven sonatas for piano four hands by Muzio Clementi. The relevance of the research is accounted for by the attention paid by performing piano duos to the four-hand repertoire in its diversity. In this connection, there is a necessity of a theoretical analysis of this topic, which has not yet been discussed in music science. The article aims to trace the evolution of Clementi’s sonatas for piano four hands, outline the historical context of their creation, and identify their typical features. The research suggests a two-aspect approach to the analysis of the sonatas: they are looked at from the point of view of the evolution of the composer’s style in the period 1779—1786, as well as in terms of the thematic process, sonata structure and four-hands piano texture.

Clementi’s duet sonatas (belonging to the number of early four-hand works, together with the sonatas by W.A. Mozart, J.C. Bach, Ch. Burney) form a line reflecting his life impressions and representing his creative search. The first three sonatas for piano four hands — as an integral part of op. 3 — were written and published in London at the time when Clementi was gaining a reputation of a virtuoso and teacher. The sonata that opens op. 6 appeared in Paris, where Clementi started his European tour; it reflects his interaction with the contemporary music phenomena. Op. 14, which consists of three sonatas for piano four hands, was inspired by young composer’s romantic experience during his stay in Lyon (it is dedicated to Maria-Victoria Imbert-Colomes); the work sums up his achievements in this genre. Researchers list the sonatas of op. 14, which are full-fledged concert works, among Clementi’s best works and rank them on a par with four-hand sonatas by Mozart. In general, the sonatas show a tendency towards the unity of form, common thematic features within a piece, diversity of texture.

It is fair to say that the sonatas for piano four hands, as well as the composer’s solo sonatas, became for Clementi a field of experiments in the sphere of piano — an instrument to which he devoted his performing, teaching and, eventually, business activities. The temperament and expression of Clementi’s sonatas, combined with their virtuosity, makes them concert compositions that can sound impressively on the big stage in the modern situation. At the same time, they can also be an excellent training material for performers of different levels.

To manage research activities, it is necessary to develop up-to-date tools that allow to quickly and efficiently assess the effectiveness of the scientific space functioning. Contradictions between the new industry of scientific communication and traditional forms of preserving and multiplying intellectual capital have become more acute, new points of interaction between the institutional structures of science (scientific schools, “invisible colleges”, expert and experimental (real and virtual) laboratories, etc.) have appeared. The concepts of the cultural codes of representation and translation of the subjects (individual and collective) of scientific communication have changed, and there is a need to update the requirements for the culture of their identification and positioning in the age of digital technologies. A scientific school is a multi-purpose collective that simultaneously implements the functions of production, dissemination, protection of scientific knowledge and reproduction of scientists. The cultural traditions of its functioning, as well as the cultural norms of institutionalization, are being transformed.

On the material of bibliographic description of the genesis and development of the cultural studies school of the Southern Urals (centered in the Chelyabinsk State Institute of Culture), the article shows opportunities for scientometric and informational analyses. The author offers to discuss and use two bibliographic publications (the catalog of the scientific school and the bibliographic navigator, which include information about research topics, successful scholars, scientific leaders, postgraduate students and applicants, opponents, leading organizations of the communicative field of cultural studies of the Southern Urals), as well as cultural researchers’ landmark publications, innovatively identified by the method of introspection. The publications are reviewed as tools in the system of cultural studies of the scientific school positioning.

The article draws conclusions based on the study and comparison of the configurations of connections between persons (academic advisor, postgraduate student, opponent), leading organizations and scientific leaders and their geolocation, subject headings: “applicant — academic advisor — opponent”, “subject heading/topic — leading organization — opponent, specialty number”, etc. These connections are individual for the related concepts: “management — coordination”, “interpretation of a communicative challenge — adequacy of a communicative response”, “practical meaning — purpose of communication”. These areas of analysis of the scientific school functioning provide a vision of the scientific interaction communicative fields’ intersection, the increment and examination of scientific knowledge, the basis for making managerial decisions to organize science.

Culture today is experiencing a state defined by most researchers as “critical”, “threshold”, “moral or spiritual apocalypse”. One of the main problems is the devaluation of spiritual values, which leads to the destruction of the connection between society and academic culture.

The multi-channel and all-consuming system of mass communications (media) has begun to play an increasingly decisive role in modern society. As an alternative to spontaneous dissemination of information flows, the concepts of “media culture” and “media art” arise, which makes it possible to combine aesthetic searches with modern media, the best opportunities of which should be used in the field of academic culture dissemination. That is why the issues of artistic enlightenment, professional dissemination of academic culture in the new information space, the focus of spiritual, moral and aesthetic guidelines, as well as the training of potential musical educators within the initial professional stage are so relevant today. The proposed experimental model of children’s musical enlightenment is aimed at teaching the popularization of academic music, disseminating acquired knowledge about music in the context of related arts, on the basis of a unified three-stage educational music enlightening system.

The purpose of the presented project is to develop and implement the model on the basis of the existing primary state music education (of preschool, school and post-school professionally-oriented levels) using the achievements of media technologies. The presented model will contribute to the most harmonious development of individual creative abilities of students, the formation of their active life position, and the provision of their primary professional and activity competencies in the field of musical enlightenment, which can help optimize primary art education.

The article is devoted to understanding the origins of the formation and development of the theory of folk art. The relevance of the topic is determined by the existing contradiction: on the one hand, the positioning of folk art and traditional folk art crafts as an important part of the national artistic culture, an independent field of art criticism, which can be seen in legal documents, popular science literature and scientific works of the 20th century, and, on the other hand, the limited range of modern research in this area, insufficient development of the theoretical aspect of this issue.

Based on the analysis of a wide range of sources, the author identifies five stages of the formation of the theory of folk art (the beginning of the 18th century — 1870s; 1870—1910s; 1917—1930s; 1930—1990s; 1990—2020s), gives a brief description of them, and names the main results of studying each of the periods. The provisions of the theory of folk art were most fully and systematically formulated and justified by M.A. Nekrasova in the 1980s.

The article considers the process of forming interest in works of folk art in the middle of the 18th — the last third of the 19th century, and in the next period of “initial accumulation of facts” (until the 1910s), as the first experience of developing scientific approaches to the analysis of the specifics of folk art. The author reveals the significance of Peter the Great’s transformations in the field of culture for the formation of public interest in the traditions of Russian culture; defines the Russian folklore researchers’ contribution (songs, rituals, fairy tales) to drawing attention to the problems of preserving national features of Russian culture and their interpretation in works of literature; describes the activities of artists, critics, and public figures in creating the first collections of folk art, their analysis and description from a scientific point of view.

The relevance of the article is indicated by referring to archival primary sources that characterize the forms and methods of scientific and artistic educational activities of the State Russian Museum in the 1940s, in particular — during the Great Patriotic War (a museum tour, an exhibition session, a lecture, a conversation with slides). This makes it possible to more accurately identify the direction of work in the following years and at the present time and indicate the need to introduce other forms of work with visitors: lectures with slides, traveling exhibitions, concerts, cycle subscriptions, trips to villages and enterprises, lectures on the radio, cooperation with the museum’s publishing house and the country’s press bodies.

The influence of the Department of Scientific and Artistic Propaganda of the 1940s on the State Russian Museum’s subsequent work on communication with the audience is expressed in the revision of the content of the excursion and lecture courses. In the 1950s—1970s, messages on the heroic past of the Soviet people, presentations of the activities of warrior artists, and communication with national unions of artists gained particular popularity. The State Russian Museum became a center for advanced training of tour guides for peripheral art museums.

Documentary sources, which include archive materials, are of particular importance in the preservation of memory. Together with them, works of art created during the war or in the first post-war years play an invaluable role in restoring the truth.

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