The article examines the manifestation of national and supranational cultural characteristics in management activities. The author identifies trends in the change of the fundamental principles of management methodologies over time and depending on the economic environment culture. The present work is aimed at determining the nature of the temporal evolution of management methodologies that is conditioned by the prevailing cultural paradigm. The features of cultural codes are considered in the article as determining the choice of economic models of behavior. There are identified two fundamentally different paradigms — Eastern and Western. The article considers examples of the development of management theory and practice in regions that have cultural differences that do not allow them to be attributed to one of these two paradigms. The author considers corporate culture and general behavioral culture at work as a key factor influencing the choice of the management type. The research method applied involves the identification of key characteristics of management methodologies, the correlation of these methodologies in terms of their elaboration and use with the peculiarities of national cultures, and the construction of a chronological sequence for their implementation, taking into account the predominance of certain national and supranational cultural codes. The article analyzes the processes of formation of the Eastern and Western management models within the relevant cultural and historical contexts. There are separately examined the specifics of the managerial culture formation in Russia. As a result of the systematization carried out, there is revealed the predominance of the scenario of the management concepts transition to the supranational level. Due to globalization processes, management models and management methodologies suppress national cultural codes and form a dominant supranational cultural code of management. The analysis of the management methodologies evolution shows that the direction of the evolution is characterized by a convergence of the Eastern and Western management paradigms, a pursuit to create unified models that are well amenable to digitalization.

The article deals with the comprehension of the phenomenon of urban identity in general and its sign-symbolic level in particular. By urban identity in the context of the presented scientific text, we mean a set of authentic features and characteristics, inherent in a particular city, that perform an attributive function, allowing to differentiate it from other cities; the process and result of a person’s identification with the city, based on the acceptance of its identity, on the emotional entry into the space of its material and sign-symbolic environment. The sign-symbolic level of urban identity assumes personal mastering of the city’s semiotic environment, its inclusion in the space of the event and emotional experience of its inhabitants, transformation of the objects of the city’s sign-symbolic space into a set of “memory places”.

The author of the article conducted a culturological study of the urban identity of the residents of industrial cities of the Southern Urals (semi-formalized interviewing method; the array of respondents — 270 people), including its sign-symbolic component. Its specific features are culturocentricity (predominance of man-made sign-symbolic objects over natural and mixed ones); commemorativeness (dominance of memorial objects — memorial sculpture and sculptural compositions, museums, ethnoparks, historical buildings, other monuments of historical and cultural heritage — over objects of other types); retro-orientation (predominance of objects temporally associated with the past, mainly with the Soviet period); monotony (limited range of objects chosen by residents of one city); syncretism (identity of objects aimed at different audiences); collectivism (total predominance of objects — signs of group identity); centrality (centripetal localization of objects, their location mainly in the city center). The results of the conducted research allow us to speak, with a significant degree of confidence, about the very clearly manifested features of the Southern Urals cities inhabitants’ perception of their own small Homeland, about the problematic and strengths of the existing urban identity, the vectors of its correction and improvement.

The distraction of the population from drunkenness and from deviant forms of spending free time in general was not only an urgent socio-cultural issue, but also an important state and social task in the Russian Empire in the second half of the 19th — early 20th centuries. One of the ways to solve this problem in the Russian army was the creation of soldier theaters in military units. On the basis of a wide range of pre-revolutionary sources, the article for the first time presents the history of the theaters creation and development. There are revealed the main purposes of the soldier theaters in the Russian army: 1) to distract from drunkenness and other forms of deviant behavior; 2) to promote the moral education of lower ranks; 3) to provide them with an alternative option for leisure — pleasant and useful. The article presents the main results of studying the book catalogs of soldiers’ libraries in order to identify in them special sections dedicated to theater publications, which allow reconstructing the potential repertoire of the soldier theaters, and when analyzing regimental histories — the real one. The article reveals the role of officers in setting up and functioning of the theaters. There is presented the experience of organizing the theaters for lower ranks in the German army of the same period, purposefully studied by official Russian agents for use in the Russian army. The conducted research made it possible to clarify the tasks of creating the soldier theaters, their repertoire and features of functioning. The revealed positive experience of conducting useful and pleasant leisure in the form of setting up soldier theaters can be useful today in organizing free time for both servicemen of the Russian army and the civilian population of the country.

The article discusses the issue of understanding the nature of solitude and its reflection in art, including some aspects of solitude in the digital age. There is noted that this topic has hardly been explored in art history, including in studies on street art, which determines the relevance of this article. The author emphasizes that in art solitude is a filter through which the artist learns to see the world, transforms his/her experience into images, and enters into a dialogue with the viewer. The article examines the reflection of the issue of solitude in contemporary art on the basis of the works of the French street artist JR (he does not give his full name), in particular his video installation “Chronicles of San Francisco”. Most of JR’s creative projects focus on overcoming solitude and isolation: social, gender, race, age, cultural, etc. The author explains the choice of a video installation as the most optimal means for communication between the artist and the viewer. The article highlights the technical and technological innovation of JR’s video installation “Chronicles of San Francisco”: the artist’s approach to revealing several layers of the issue of social isolation and solitude; equalizing the objects by using the same color and light exposure; supplementing the video image with “untold stories” of the sitters via an application for mobile phones; creating the overall composition dynamics of the arrangement of the 1206 figures and the background through visualization of different types and layers of solitude. The results of the study will be useful to art historians and students studying contemporary art and street art.

During the period of active post-war restoration of the palace and park ensembles of Leningrad, in the absence of permanent expositions, exhibitions were one of the few ways of museum communication. The article focuses on the exhibitions of the Pavlovsk Palace Museum and Park in the 1950s. As a research base, the author uses articles from the newspaper “Vperyod” issued in the city of Pushkin, and unpublished materials of the Central State Archive of Literature and Art of St. Petersburg: reports and plans of the directorate, programs of festive events, minutes of the scientific department employees’ meetings, financial reports of the 1950s, etc.

On the example of Pavlovsk, the article reveals the essence of exhibitions as a typical phenomenon for a museum complex, as well as for a culture and recreation park, which allowed forming civic consciousness and implementing state cultural policy. The exhibitions helped to solve a set of political, educational, personality-developing, leisure, and cultural tasks of Soviet cultural institutions.

The author conducts a comparative quantitative analysis of the total number of exhibitions by year. Based on the content of the exhibitions, there is provided a universal thematic classification. The article shows the connection of the disclosed topics and the number of exhibitions with the cultural and political situation in the country during that period. There is determined the organizational specifics of the process, within which the main sites, time and forms of exhibitions are identified.

The article concludes that most of the exhibitions did not correspond to the museum’s essence, but those that related directly to the history of the museum and its collections were in tourist demand. Some of the exhibitions of the museum profile, over time, determined the content of the future permanent expositions of the State Museum-Reserve “Pavlovsk”. The emergence and growth of such exhibitions, covered in the media, contributed to the activation of visitor interest in Pavlovsk as a museum and the development of cultural tourism, primarily at the local and regional level.

The Russian State Library holds one of the largest collections of Russian posters. Film posters from the time before the cinematography nationalization in 1919 are presented there in more than 250 sheets. Most of them advertise Russian films, more than a third — foreign ones, 25 sheets — documentary cinematography and newsreels of the Russian branch of the French firm “Pathé Brothers”.

Recently, there has been a growing researchers’ interest in this period. Active popularization is being carried out by holding exhibitions and publishing catalogs of the largest collections, this phenomenon is discussed in detail at the beginning of the article.

As well as cinematography, a film poster is a synthetic work. It represents a piece of graphic art, which is a commercial advertisement for another type of art. This research is aimed at studying film posters as a historical source that can tell us a lot: about characteristic social trends, about filmmaking as a process and about films themselves, about tendencies in the visual arts, about advertising of that period in general and about itself as a new type of advertising in particular.

The article shows the history of the film poster formation as a product of commercial advertising and its subsequent development into a separate type of spectacular poster. There is analyzed its potential as a source on the history of cinema. In conclusion, the film posters are presented as a reflection of the era and society, which reacts to fundamental changes in the country.

The article examines the relationship between the literary work of V.I. Nemirovich-Danchenko that preceded the opening of the Moscow Art Theater, and his directorial activity. For him, journalism, fiction and drama formed a unity that had a serious impact on his pedagogical and staging practice. The main issues related to the topic of the work have been repeatedly raised by researchers of theater and literature, but have not yet come to the attention of musicologists, which determines the main parameter of the study’s novelty. In this context, the article aims at pinpointing the actual musical textual details, and its main methodology is based on the interpretation of statements and their comparison with the factual theater history. The article attempts to review the “favorite repertoire” of V.I. Nemirovich-Danchenko as a writer — the musical works mentioned in his novels, stories and plays. There is also identified the “projections” of such sympathies on the design of performances. The article reveals fundamental differences in V.I. Nemirovich-Danchenko’s attitude to vocal and instrumental music, the special role of opera in his perception of the world. There is noted the tendency to attach special semantic and moral-ethical meaning to sound components, as well as the affordance, opened in dramas of the late 1890s, of maximum avoidance of noise elements for the sake of relief identification of a word. The article ends with an attempt to substantiate from a musical standpoint the failure of the drama “In Dreams” at its first and only staging at the Moscow Art Theater (1901). The conclusion contains a number of findings characterizing the musicality of V.I. Nemirovich-Danchenko in 1898, at the time of the opening of his theater. There are partially highlighted the stages of his evolution not mentioned before, which led the director to experiments in the genre of tragedy at the turn of the 1910s and 1920s, the foundation of his own opera studio and the revision of literary positions that remained relevant for the last decades of his life and work.

The article is a special study, of a historical and theoretical nature, dedicated to the stage poetics of M.A. Zakharov’s play “Mystification” (1999) of the Moscow Lenin Komsomol Theater (now the Moscow State Theater “Mark Zakharov Lenkom”, hereinafter — Lenkom), that is the study of Zakharov’s production from the point of view of finding out what techniques and methods were used to carry it out. The subject of the study are the components of Zakharov’s directing methodology: the plot and the ways of structuring it; the decoration design of the stage and the capabilities for its transformation; the episodic structure of the action, the attractions, sideshows; the genre nature of the production; and other. In addition to the reconstruction and analysis of the Lenkom production from the point of view of the director’s technique used, the task of the research also includes determining the place and role of the play among Zakharov’s productions, which study the peculiarities of the Russian national mentality by means of the theater. The sources of the study are the director’s statements, reviews of the play, iconography, and personal impressions from watching the TV version of the play. The research methodology is based on the classical principles and approaches to performance reconstruction and analysis of the Leningrad (Gvozdev) School of Theater Studies, as well as on the method of contextual analysis. The Lenkom leader managed to create a compact, dynamic and spectacular stage fantasy based on Gogol’s texts, the purpose of which is to comprehend the Russian life at the turn of the centuries, and the director’s plot is to study the features of the Russian mentality as a factor determining the past and future of Russia. “Mystification”, together with the performances “A Barbarian and a Heretic” (1997) and “The Jester Balakirev” (2001), made up a stage trilogy, which summed up the gloomy results of the 1990s and quite clearly expressed the peculiar meta-plot of Zakharov’s productions of the beginning of the 21st century — the conditionality of the fate of Russia by specific qualities of the national mentality.

The article is dedicated to the one of the most famous Afro-British writers — Bernardine Evaristo. In 2021, her book “Girl, Woman, Other” was translated and published in the Russian language. Earlier (in 2019), it had become a winner of the Booker Prize. The authors of the article focus on the problems that primarily concern the writer herself. These include feminism and gender equality, professional motivation and the texture of success, crisis and the search for identity, otherness and dissent, cross-cultural dialogue and existence on the verge of tradition, as well as the theme of the House (with a capital letter), within which, ideally, it is quite possible for representatives of different races, ethnicities and cultures to coexist.

Bernardine Evaristo tried herself as an actress, screenwriter, director, radio and TV presenter and uses the experience gained in her literary works. Their genre is difficult to define. The novel “Girl, Woman, Other” is a kind of anthology of women’s experience. Foreign criticism defines it as fusion prose (a combination of the incompatible). It contains the authenticity of non-fiction and the miracles of magic, unobtrusive notes of maternal instructions and mesmerizing rhythms of blues poetry. The author avoids capital letters in her text; there are no main or secondary characters in the book. The author gives her protagonists (there are twelve of them as the number of Christian apostles) the opportunity to recognize their selfness, expand the horizons of their own identity. Together with them — her messengers — she tries to comprehend the meaning of her own existence as a woman, as a person, as another.

Russia of the second half of the 19th — early 20th century was characterized by a transformation of culture in general, as well as at the local level. There was an increase in urban territorial self-awareness, which determined the formation of urban communities that considered it their duty to show the significance of their city among others, to draw attention to it. In the post-reform period, Saratov became one of the few provincial cities in which an archival commission appeared, whose representatives were engaged in collecting and studying the past of the city.

Based on the materials of regional sources (historical and local essays, guidebooks, and the works of the Saratov Scientific Archival Commission), the article for the first time examines the Commission’s activities in two ways: as a representation of already existing, established images of the city, and as a creator of new ones.

This study strives to answer the question of what the local urban community of Saratov was in the period under review, and to analyze how its activities influenced the formation of the city’s images. The article finds that the texts created were aimed at dispelling the existing myths about the city as a “back country”, “village”. The analysis of the class affiliation and professional composition of the members of the Saratov Scientific Archival Commission testifies to the democratization of the process of forming the city’s images, which were created not only in the space of noble culture, but in the wide urban space. In the second half of the 19th — early 20th century, the social stratification of provincial society underwent changes, which led to the isolation of social groups with differences in class, education, profession, lifestyle, and value system.

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