There are numerous works of both Russian and foreign authors concerning the issue of modernization, yet interest toward it is far from exhausted. While complexity of globalization processes grows, modernization constantly presents us with new challenges, thus demanding new approaches in research. This article represents our attempt to rethink existing concepts in order to prove the preference of deploying research in a socio-cultural direction, which may ensure priority of the human factor, social partnership and social equality in the global arena, as, without these, modernization also loses its socio-cultural perspective and content. Most certainly, this new idea requires a sociocultural model of modernization to be created, as well as a corresponding methodology. However, we are forced to narrow the postulate of the topic, as the justification of the need for such a model raises certain questions, namely: why exactly it is needed, and what factors hindering its development are present in existing modernization theories. Therefore, the following tasks have been prioritized: highlighting the positive aspects of the three stages of modernization theory, changing the paradigms of research approaches, creating the principles of interdisciplinarity by the American school of social scientists, determining the role of science in the institutionalization of these processes. The article highlights as determining factors of the socio-cultural modernization strategy the political motives for creating the modernization theory, leading to an increase in the status of strong states over weak ones, to an imbalance in the development of different societies, subordination of the weak to the powerful. Unlike many researchers who associate the leap in human progress with the Industrial Revolution and the Great French Revolution, the author believes that the true origins of the phenomenon should be found in the Scientific Revolution of the Western countries of the 16th—17th centuries. After all, the basis and driving force of modernization consist of intellectual capital and the middle class. The article also provides examples of practical application of scientific discoveries, its destructive and positive influence on Western societies in the era of rapid changes, giving examples to all humanity. In conclusion, the article defines the socio-cultural model of modernization.

The article discusses issues related to the development and prospects of applying the cultural mapping technology in the Russian Federation. This technology, based on the integration of creative industries and advanced information and communication developments, involves the comprehensive identification, inventory and updating of tangible and intangible cultural resources with their subsequent inclusion in strategic plans for territorial development. The relevance of the article is connected with the need to search for new resources to develop regions, and Russia as a whole, in the conditions of global crises and fluctuations in the conjuncture of traditional commodity markets, the importance of identifying promising areas for the country’s economy transformation during the transition to the post-industrial era. The turn to innovative development that accompanies the processes of socio-cultural modernization in Russia is due not only to the level of development of modern technologies in society. First of all, it is associated with the modernization of the cultural sphere, understood as a broad interdepartmental phenomenon and the basis for positive transformations in the constituent entities of the Russian Federation. The author notes that the further construction of a modern society in the context of the development trends of the world economic and cultural space is impossible in Russian regions without the formation of an infrastructure, the key elements of which are cultural, intellectual and information resources, as well as institutions and advanced sociocultural technologies that ensure their storage, transmission and provision to users.

The goal of this article is to analyze emergency economic measures to support culture during the COVID-19 pandemic crisis (2020—2021). The article presents a classification of economic measures to support the industry during that period, analyzes the actions taken in Russia and four European countries (France, Great Britain, Italy and Germany). There are described the effectiveness and practical implementation of a wide range of financial mechanisms that stimulate the restoration and preservation of the industry’s sustainability, including non-refundable subsidies, credits and loans, insurance coverage for canceled and postponed cultural events, compensations for lost income due to reduced ticket sales, job retention programs. The article presents the results of a comparative analysis of the anti-crisis expenditures incurred by the five countries’ central governments (at the republican or federal level) to support culture in the crisis. The author pays special attention to state measures to support cultural workers, including those self-employed. In conclusion, the article presents recommendations on further directions of economic policy in the field of culture, taking into account the analysis of relevant foreign literature and the latest reports of European governments with a high level of state support for the industry.

The purpose of this article is to analyze the existence of dance culture in the context of its active interaction with media technologies. The modern theatrical repertoire offers a large number of experimental performances, which provides a basis for a cultural understanding of dance culture, based on the works of researchers of culture, theater and dance, as well as on the basis of the results of creative searches of choreographers and dancers (lectures and individual performances). The synthesis under consideration generates new stage techniques (formation of space without the use of decorations, direct “interaction” of the dancer with electronic “props”), technical means for rehearsals (tracking movements in space, remote work of the choreographer and the performer). This makes dance art accessible to the viewer making it a part of media culture through musical films and television projects. The article pays special attention to the wide opportunities of the dancer’s self-presentation in the digital space, which requires not only beautiful dance technique, but also technical skills (filming, editing).

It is important that the synthesis of technology and dance is a special case of the relationship between the classical and the modern. This manifests itself in unusual musical works, where genres and musical instruments of different styles are combined, as well as in experimental dance performances in which there is a place for both classical dance and digital technologies as decorations or even participants in the stage action. The article concludes that dance culture continues to develop with the help of media technologies, but it should be borne in mind that further technical transformations will never replace the live movement and expressiveness of the human body with digital effects.

The article aims at analyzing the current podcasts usage practice in American libraries and identifying its goals, objectives, and the types of podcasts applied. In US libraries, podcasting is used for distance learning, servicing remote users, describing databases and new services, reviewing new books, broadcasting librarians’ interviews, guest lectures, readers’ conferences, etc.

In the digital age, with its information dissemination capabilities, the rapid development of podcasting, as a new library service, is motivated by its convenience, mass access, lack of spatial restrictions, time savings, etc. The active spread of the podcast format, as a kind of Internet radio, indicates a certain “screen fatigue” that has formed among the mass user, as well as the further qualitative and quantitative growth of the library services mediatization carried out with the help of complex integrated technologies. The widespread usage of the service-oriented library model in the United States over the past two decades has popularized the use of online applications related to the accessible electronic environment.

The complex nature of podcasts usage in libraries of various types, their genre and thematic diversity, autonomy in space and time, makes them a promising library service that is destined for a great future.

The article considers the results of a sociological survey devoted to the analysis of preferences and perception of maritime museums by their potential visitors. The topic of maritime heritage and its museification is relevant due to a number of strategic documents devoted to the development of activities aimed at marine resources and affecting the preservation and actualization of maritime heritage. Although there are studies devoted to maritime museums in Russia and abroad, the attitude of visitors to this kind of expositions has not been studied before. This lacuna, along with the need to develop maritime museums, determined the purpose of this work — to analyze the visitor’s perception of the topics presented in the expositions of maritime museums.

The study is based on a sociological survey (20 topics were presented in the questionnaire). The sample size was 500 people, including 171 men and 329 women. The average age of the respondents was 32 (±11) years in the range from 12 to 74 years. The majority of the respondents live in the Central and North-Western Federal Districts. Slightly more than a quarter of the respondents work in museums or are associated with cultural and tourism institutions. The article analyzes the estimated results in accordance with the respondents’ age, gender, as well as their involvement in museum activities.

The results of the research can be applied within the framework of scientific and exposition activities – in particular, when creating scientific concepts for new expositions and exhibitions dedicated to maritime heritage. In addition, they can be used in preparation of training courses dedicated to the study, preservation and museification of maritime heritage.

The article reveals the connection between the creative method of M. Matyushin and the search for a new spirituality associated with the ideological and aesthetic searches of Russian modernism in the era of the Silver Age. The relevance of the article is due to the need for a comprehensive analysis of the heritage of the Russian avant-garde, because, in the Soviet period, everything that went beyond the method of socialist realism was excluded from public consideration. A new aesthetics of theatrical futurism emerged in 1913 in the experimental opera production “Victory over the Sun”. In 1923, M. Matyushin formulated the program of “extended viewing”, calling it “ZOR-VED”, which came from the Russian words “Vision” + “Knowledge”. The contemplative method he proposed, by analogy with Buddhist practices, made it possible to overcome the fragmentation of the reality perception. The observer was to go beyond the space-time limitations, while the boundaries between the object and the subject would become blurred, removing the animate / inanimate opposition, and an understanding of the integrity of the universe would be achieved. M. Matyushin perceived color as a complex phenomenon, depending on the illumination, color of the environment, movement. The result of the experiments conducted by Matyushin at the State Institute of Artistic Culture (GINHUK) was the “Guide to Color” (1932). The method of “extended viewing” brought closer a new era of comprehension of the world as a whole, foreshadowing a breakthrough in many areas of knowledge: the sciences of consciousness, philosophy, psychology and even physics. However, in the country of victorious socialism, the experiments, which anticipated the further development of the visual arts of the 20th century, were forcibly stopped. M. Matyushin continued his search for a new spatial aesthetics in his home theater. The novelty of the solution to the problems under consideration is due to the fact that the article introduces a whole layer of rejected culture of the first third of the 20th century into scientific use, analyzes the activities of the little-studied organic direction of the Russian avant-garde, and compares M. Matyushin’s method of “extended viewing” with Buddhist practices.

In the early 20th century, the avant-garde formation in Russia had one significant feature that helped science and art to interact productively throughout the 1920s. The feature was the creation of educational institutions and research institutes, which provided working space for avant-garde artists, theorists, philosophers and practitioners. These people were expected to create a new science of experimental art. Igor Terentiev, a member of the radical futuristic group “41°”, headed the Phonological Department of the Institute of Artistic Culture (INHUK, from 1925 — the State Institute of Artistic Culture (GINHUK)) for less than a year (from October 1923 to March 1924), but his theoretical work was reflected in theatrical practice. This research aims at presenting all the spectrum of searches and the specifics of the GINHUK Phonological Department on the basis of archival documents. The object of the research is the programs of the Department and the lectures of its members. The article focuses on the diversity of the Department’s research program, which was not limited to sound studies alone. The flexibleness of sound substance was equated to the concept of cogitative activity. Sound was considered as a “physical phenomenon” in musical and artistic contexts, and not only as a musical phenomenon, but also as an artistic device and a propaganda tool. The Department presented and discussed lectures on Zaum, noise music, theatrical material, compared the characteristics of the poetry of A.V. Tufanov, K.D. Balmont, V.V. Khlebnikov, discussed the opportunities for artistic work in the sphere of speech and sound. For Igor Terentiev, the most important subject of study was Zaum. On the basis of it, he wanted to develop a universal and international language. The article attempts to reconstruct the general directions of the Department’s work, to formulate a characteristic of its activities, as well as to analyze, for the first time, previously unpublished program theses of its employees.

The article continues the author’s research on the source study of records on early printed Cyrillic publications. This type of historical source helps to study both specific groups of publications and regional corporate and private collections. The author turns to the analysis of the facts of ownership and contributions of these book monuments by representatives of the bureaucratic apparatus of the 17th — early 18th century. In the book culture of the 17th — 18th centuries, chancellors and clerks played an important role: they made contributions (including royal ones), were themselves contributors and owners, and in some cases, sellers and buyers of books. In total, 130 records (68 of them autographs) have been identified, as well as eight attachments and fragments used as stickers, revealing information about 101 chancellors and clerks (both state and monastic employees). At the same time, 106 records and documents are accurately dated, these dates cover the period from 1610 to 1782. As a result, it is possible to get not only new information about the book culture, but also to expand the available information about chancellors and clerks. There is fairly high percentage of publications designed for individual text understanding have been identified in their personal libraries: “reading” books, Scripture, educational literature (69%). At the same time, the share of liturgical services is significantly less (31%). The author has also revealed several dozen names that do not appear in available reference books. By the example of L. Asmanov and S. Romanchukov, there is demonstrated the records’ informational opportunities for reconstructing the biographies of public servants and the genealogy of their kind. The records are of particular value for the reconstruction of the family of monastic employees (which is shown by the example of the Yanyshev family of clerks of the Spaso-Yaroslavsky Monastery).

The article is devoted to the consideration of the subjects and artistic features of the architectural tiles placed on the Pskov Region’s Orthodox churches built in the 14th—17th centuries. The relevance of the article is determined by the increased interest in the history of the Pskov architectural school, the insufficient study, at the regional level, of medieval religious architecture in general and tile art in particular, which necessitated its in-depth study. The scientific novelty of the work lies in the classification and analogues identification of the subjects of the architectural tiles preserved on the walls of the medieval Orthodox churches in the Pskov Region, which is one of the earliest ancient Russian centers for the production of tiles. The article provides a detailed description of previously unpublished images of tiles from Pskov churches and highlights the peculiarities of their perception. By the nature of the images on the tiles, there are distinguished the following groups: geometric, floristic and ornithomorphic ornament, subject compositions. The most widespread in Pskov was floristic ornament, which includes images of grapes, cornflowers (carnations), flower rosettes, flowerpots with various types of flowers, herbal curls, “Flourishing Heart” and “Tree of Life” patterns, as well as ornithomorphic ornaments with images of peacock, turkey, nightingale and other birds. There is a single geometric triangular ornament on the porch tiles of the narthex of the Theotokos-Nativity Cathedral of the Snetogorsky Monastery (the church of the 14th century is included in the UNESCO World Heritage List, the porch is of the 17th century), and a subject composition of a horseman on the walls of the bell tower of the Peter and Paul Church of the former Sirotkin (Seredkin) Monastery of the 16th century. There are also unique tiles with a centaur on the Church of St. George from Vzvoz of the 15th century (included in the UNESCO World Heritage List). Made by Old Russian masters of tile art, the subjects reflect the Christian polysemous symbolism, the laconicism and generalization of the images, the harmonious composition and coloristics of the tiles. The visual perception of architectural tiles influences people, transmitting, in a symbolic form, the picture of the world, spiritual values and meanings of Russian culture from generation to generation.

This paper aims to analyze the formation dynamics of the concept of freedom in the antique philosophic tradition. The author examines the conceptualization of the term of freedom in the context of the emerging subjectivity paradigm together with the terms like guilt, legitimacy, pursuit, spontaneity, determinism, will and mind. The article claims that the shift from the archaic understanding of freedom as a generic feature of ethnic identity and liberation from external compulsion to the interpretation of freedom as a subject’s ability to set goals and self-identify is a result of redefining the connection between such terms as will and mind. There are described the changes in social practices that came from redefining of the above-mentioned terms. The author examines the connection between the classical tradition and the early Christian discourse that set the freedom of will as the highest ontological principle determining the ethical modality of a subject. The late antique Christian discourse links the concept of freedom with the will of a subject. However, unlike the classical tradition, the freedom is not defined through rationality (freedom as a conscious decision leading to a desired goal), but is shifted to the sphere of affect (emotional resonance with the doctrinal provisions of Christianity, whose aim is to merge with the Creator), which set the basis for voluntarist theories. The article argues that the intention of the concept of freedom formed within the antique tradition is relevant to the modern discussions of human freedom, defined in terms of opposition to natural determinism, lack of external compulsion and manipulations, rational goal-setting, opportunity to act differently, subject’s control over the alternative choices, expression of subject’s psychological life.

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