The article proposes the concept of cultural federalism, which contributes to the sustainability of ethnic cultures in the era of global unification. The new understanding of federalism revives the meanings of modernity, contributing to the synergy of Russia’s multinational culture, overcoming alienation, and disintegration of multiculturalism.

The novelty of the topic lies in the substantiation of the concept of cultural federalism vs ethno-federalism. The concept is adequate to the cultural situation of modern Russia, its multinational cultural capital, capable of countering the secession with the integration model of interaction and mutual enrichment of cultural programs. The cultural federalism contributes to the development of a national Russian idea, the absence of which reduces the effect of national consolidation and nation-building.

The proposed concept serves as a tool for resolving the contradiction between the form and content of the “sleeping” ethnic federalism. The article considers the dialectical self-development of the federation subjects entering the era of organic socio-cultural modernization. This is expressed by the ethno-cultural renaissance in the field of art. Thus, the ethno-modern in the art of Yakutia demonstrates productivity, ensuring the sustainability of the ethnic cultures of the North-East of Russia from the erosion of their moral and spiritual foundations.

The new social reality developing over the past decades has caused serious internal transformations in the nature and content of economic culture in general, and business culture in particular. In this regard, the relevance of studying various forms, directions and levels of this transformation, as well as searching for solutions that allow purposefully influencing the process of evolution of business culture in the context of the need to improve its social and economic efficiency has increased. The study aims to assess the processes of business culture transformation in the conditions of growing macroeconomic instability, uncertainty and risks. The article examines the evolution of scientific ideas about business culture as a culture of entrepreneurship and active economic activity in the genesis of economic science. There is substantiated the idea of business culture as a culture of creativity and its generalizing nature in relation to other forms of economic culture. The article reveals the general and specific characteristics (features) of business culture. Its transformation is taking place in fundamentally new conditions of social instability and uncertainty both at the communication level (communication environment), in the field of axiology (value thinking and consciousness), and in the field of creative technologies (info-, nano-, bio-, cognitive, etc.). The author outlines the main directions and forms of the business culture transformation in the context of digital economy formation. The article reveals the features of the development of business culture in modern conditions. The growing variety of its models and typologies testifies to their different philosophical and ideological foundations, which objectively hinders the development of universal and generally accepted norms of economic behavior. There are indicated negative and positive characteristics in the transformation of business culture. Achieving the necessary balance between them meets the objectives of the country’s sustainable socio-economic development strategy both in the near future and for a longer period. The article formulates specific recommendations for modernizing the economic education system in the context of the need to develop and improve business culture.

The use of digital technologies in musical art influences the process of arousing the audience’s interest in personal control of what is happening on the stage, their involvement and maximum possible immersion in shows, performances, multimedia projects, which affects their psychology, as well as the peculiarities of their perception. This article summarizes the results of a study of the mutual influence of digital technologies and academic musical-instrumental and vocal art.

The authors prove that the use of digital technologies in the work of modern musicians, directors and designers contributes to the development of the creative and communicative aspect of musical art; bringing the art of the 21st century to a qualitatively new level; the enrichment of artistic thinking and creative potential of musicians, listeners, spectators, etc.; increasing the mobility and innovativeness of contemporary musical art, which is reflected both in the expansion of the visual and performing aspects of concert performances, and in the increase in the number of listeners and viewers.

The article specifies that, unlike modern Japanese musical culture, which is mostly based exclusively on digital technologies, representatives of Russian culture are adherents of academic traditions. Specifically, the main goal of G.V. Filshtinsky’s work, according to the director himself, is to update the very presentation of musical-instrumental and opera art to the youth audience while preserving the classical content and live sound of the works in general.

The article substantiates that the fundamental idea of the festival “Digital Opera 2.0. Opera of the Digital Age” is to attract a younger generation of employees and spectators to Russian opera houses. It is no coincidence that the plot and the author’s show projects by G.V. Filshtinsky are based on patriotic themes, which the director, together with his numerous team of professionals, introduces into the performances.

The article reveals that the events held within the framework of the First International Festival “Digital Opera 2.0. Opera of the Digital Age” and G. Filshtinsky’s show performances are aimed at solving the fundamental problems of modern society, namely, the preservation, development and popularization of the creative, cultural heritage of the Russian Federation, the formation of patriotic, aesthetic, spiritual growth of the county’s youth audience.

Global changes and challenges of the 21st century have significantly changed both the conditions for the social functioning of art and its audience. This has shifted the focus of contemporary research interests from creating a socio-cultural portrait of the viewer to the area of comprehending new forms of cultural consumption, the origins and drivers of cultural activity. These aspects of the socio-cultural dynamics of the theater audiences are discussed in this paper, which continues the publication of the results of a large-scale sociological study of the audience of the Chekhov Moscow Art Theater. Our interest is primarily due to the historically formed special perception of this theater by the public, which distinguishes the Moscow Art Theater from other theaters of the country. Basing on the empirical data of sociological polls of two types — in the theater auditorium and on the Internet — and using the methods of mathematical statistics, we identify those features that most characterize the modern theater audience and reflect fundamentally new trends in its cultural activity. We note the stratification of the theater audience on completely new qualitative grounds and the establishment of a new cultural phenomenon at the forefront of theatrical life — the online theater-fan. To answer the question about the existence of a certain “generic peculiarity” of the Moscow Art Theater audience, which in previous years embodied the legendary Moscow Art Theater tradition, we tried to identify the latent features of the audience that are not reducible to the traditional quantitative measurements of spectator activity. The findings of the study are unexpected. In some ways they disappoint, but at the same time they explain a lot in the current trends of cultural consumption. They supplement the theoretical landscape with empirical data on the qualitative and behavioral characteristics of the modern theater audience and its cultural activity, which is steadily drifting into the online space. Theoretically comprehending the results obtained we fit them into the broad context of international studies of cultural life. So, behind the particular features of specific audience groups, we can catch the manifestations of global cultural processes that determine the current sociodynamics of the audience of art.

The article examines the experience of direct and indirect state support for public art in the United States of America. The Russian model of culture financing differs from the Anglo-American one, but, despite completely different historical background and traditions, modern Russia seeks to be integrated into the creative economy, where the difference in approaches to cultural policy is offset by involvement in global processes. The United Nations declared 2021 the International Year of the Creative Economy for Sustainable Development. The agenda of the Government of the Russian Federation include the development of creative industries in the country. Public art is an effective method of building a city’s creative ecosystem.

The goals of mass agitation and propaganda were the backbone for the alternative concept of decorating public spaces that existed in the USSR, but, despite the unique system of training artistic personnel and the achievements of Soviet art historians and artists, this approach needs to be rethought in the current cultural environment. The visual culture of urban spaces today receives additional incentives due to the needs of sustainable urban development. At the same time, the search for optimal approaches to the dialogue on this matter between the authorities, the art community, and citizens has been at the stage of self-determination in recent years.

The article aims to study the features of support for public art in the United States. The article includes an overview of key American scientific publications on the topic and official materials of the National Endowment for the Arts, the “Art in Architecture” program of the General Services Administration of the US, the governments of the city departments of culture of New York, Chicago, San Jose, data from non-profit organizations and professional associations.

Formulated in the conclusions of the article, the management decisions, methods and tools for the public art development, based on the American experience, can be considered as recommendations for the development of public art projects in our country.

The article considers the main conceptual approaches to the definition of the phenomenon of intangible cultural heritage in contemporary humanitarian knowledge, in the international institutional and legal discourse of UNESCO, in Russian legislation and cultural policy. Despite the widespread use of the term “intangible cultural heritage” in international cultural practice in the interpretation of the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage, national approaches to understanding and theoretical justification of this concept in all three of the above directions differ at the level of fundamental foundations.

Structural changes in the Russian cultural sphere and the transition to sustainable development strategies using the potential of intangible cultural heritage led to the transformation of practical aspects of its protection and representation. In this regard, the issues of determining the intangible component of culture and improving the terminological base are an urgent area of research from both theoretical and practical points of view. The article analyzes the main stages of the formation of the term “intangible cultural heritage” in UNESCO’s international activities, the most significant directions of this discourse, its understanding in Russian normative and legal practice (in matters of defining and typologizing heritage, the relationship between its material, spiritual, contextual, spatial and landscape components, authenticity and integrity), as well as its impact on cultural policy and practice of protecting such heritage. In addition, the authors highlight the content and functional approaches to the determination of this phenomenon in social and humanitarian knowledge, examine the basis of the criteria of authenticity, and offer an author’s definition of intangible cultural heritage.

For the first time in Russian historiography, the article reconstructs the history of the School of Selected Students, established in 1747 as an additional link of academic art education. The article uses cultural-historical and socio-psychological approaches. The author refers to the numerous sources of the 18th—19th centuries stored in the National Library of France (Paris): treatises devoted to upbringing and art education in France in the 18th century, protocols of the Royal Academy of Painting and Sculpture, correspondence of the directors of the French Academy in Rome with the directors of royal buildings. Currently, the National Library of France is actively working on digitizing these and other materials, making them available to researchers around the world. Despite the fact that these sources are generally well known to the world scientific community, they have been extremely rarely referred by Russian researchers, and never in the context considered by the author.

The School existed for only 28 years and was a unique pedagogical experiment aimed at preparing the most talented (selected) young artists (laureates of the Prix de Rome) to enter the French Academy in Rome and, in the long term, at forming the elite of the art world.

In order to review the School of Selected Students in the system of French academic art education, the author solves the following research tasks: consistently reconstructs all the circumstances of the School’s foundation and organization, reveals its creators’ intentions, and also explains the position of its opponents, who, with their constant attacks, created a tense discussion field around the existence of this educational institution. In addition, the article identifies the names of major artists who left the School of Selected Students; examines its internal structure, charter, features of the educational process; defines the circle of people who were engaged in teaching; establishes which books were available to students. The author pays attention to the School’s everyday life: the relationship between students and mentors, discipline, daily routine, financial difficulties. The results obtained allow us to conclude that this experiment was successful, and explain why the School of Selected Students was closed without having existed for 30 years, despite the obvious successes of its graduates.

Throughout history, self-portraits have been a product of a certain cultural framework, reflecting the aesthetic notions of the era, the concepts of the nature of creativity and human essence. A surge of interest in self-portraiture is usually observed during unstable, critical times, which require the artist to rethink the fundamental principles of existence and art. One of those periods was the beginning of the 20th century in Russia, when changes, radical in their degree and intensity, became the context for the emergence of numerous artistic systems that took different approaches to the purpose of an artist and his/her role in society. At a time when subjective perception becomes the defining strategy of art, self-portraits are intended to reflect the complexity of life and bring the author and the ideas together on the canvas.

This article analyzes some of the key trends in the transformation of self-portraiture in Russian art at the beginning of the 20th century. For many artists of that period, self-portraiture remained a sphere of self-exploration and giving meaning to one’s personal experience: Z. Serebriakova, M. Chagall, K. Petrov-Vodkin and others created series of self-portraits, capturing their states at different stages of their artistic journey. Often, self-portraits became an artistic expression of the author’s philosophical and aesthetic program, and the imperative of the idea prevailed over the imperative of physical resemblance. For instance, avant-garde artists (members of the Jack of Diamonds, K. Malevich) frequently reduced their visual image to a mask, an inanimate object, or an abstract composition. It is not only the artist’s image that undergoes changes, but also the space around him/her: self-portraits acquire a mythological dimension, which is created by the author as a demiurge.

The article is devoted to the history of the Moscow magazine “Construction and Decorative Art”, which played a significant role in Russian art criticism in 1903, despite its short (within six months) existence. This topic needs to be addressed due to the small number of comprehensive studies in the field of Russian art criticism of the early 20th century. On the basis of archival materials of censorship, the article reconstructs the creation circumstances of two homogeneous magazines (“Architecture and Decorative Art”, renamed “Free Art”, and “Construction and Decorative Art”) and their actual transformation into one press organ. There is examined the rapprochement of the architects Vasily Borin and Leonid Betelev with the scandalous journalist Alexey Filippov, their struggle for the permission to publish a new Moscow magazine about art in 1900—1902, the patronizing attitude of the Main Directorate for Press Affairs and the Moscow Governor-General to the new initiative of Filippov. The author introduces into scientific circulation important recorded sources related to the transfer of the rights to publish the magazine to Vasily Borin, and his attempt to pass off the former magazine of Filippov and Betelev as his own (hitherto non-existent) magazine “Free Art”. The article analyzes three issues of the illustrated magazine “Construction and Decorative Art” published in 1903. Basing on the data on the magazine’s format and prices, the author concludes that the publication turned out to be expensive and, therefore, unprofitable. The article pays particular attention to the views of Borin and Filippov on the development of contemporary art, Art Nouveau, and the activities of the artists of the group “Mir Iskusstva” (“World of Art”). In the context of a meaningful analysis of the magazine’s articles, there is discussed the honoring of the architect Nikolai Nikitin in connection with his anniversary. The author poses the question of how the issues of “Free Art” at the end of 1903 should be assessed. There are analyzed the causes for the mysterious closure of both the magazines in 1904—1905, which was not formalized in accordance with the law.

The lubok of the 1920s is a little-studied page of Soviet art. The tradition of using lubki (popular prints) and folklore for revolutionary propaganda goes back to the 19th century. The first part of the article examines the cases of using the lubki in the revolutionary movement. The Narodniks were the first who used the lubok literature form for revolutionary propaganda among peasants. The Narodniks’ “ryazhenaya” (“mummer”) literature masked in lubok clothing both for the purposes of conspiracy and for attractiveness for the peasantry. Before the October Revolution, the lubok had been mainly used by the Narodniks and Socialist-Revolutionaries who positioned themselves as a peasant party. After the revolution, the Bolsheviks also used the lubok form when it was necessary to broadcast Marxist ideas to the countryside. For this purpose, they used Soviet popular prints (Soviet lubki) and lubok books (propaganda prints). The second part of the article is dedicated to Soviet popular prints. At first, the Soviet lubki were oriented in their pictorial form on old traditional folk prints, and in their texts — on folklore. They imitated folk speech and took over ditties (chastushki) from the new Soviet folklore. From the second half of the 1920s, the Soviet lubok started changing its form, transforming into a reproduction from realistic easel paintings. The third part of the article considers the lubok books and agro tales for peasants. There is shown that the Soviet lubok books in their form also resembled pre-revolutionary ones.

Requirements to Information and Articles