In modern conditions of innovative processes development, the creative personality, as well as the appeal to human capital, comes to the fore. The ideas, technologies and developments generated by human creative work, as well as the transaction (considered in the article as a method of social retraining) of intellectual property, become the realities of modern society. In this regard, the term “intellectual property culture” is of great importance, which is studied both by followers of this phenomenon and by specialists working in the field of intellectual property. A number of authors note that there is no understanding of intellectual property among people, its culture has not been formed.

This research is relevant because it can contribute to achieving the goals of scientific and technological development, innovative transformation of society, activates a creative personality to produce new results of intellectual activity. The article gives its own definition of intellectual property culture. A significant role in its formation can be played by libraries, which are transformed and acquire new functions of educational and social-communication interaction.

The activities of the All-Russian Patent and Technical Library of the Federal Institute of Industrial Property to popularize the field of intellectual property through the “soft power” factor are aimed at working with various target audiences. For adults, they hold thematic meetings on diverse intellectual property issues. In addition, they pay great attention to working with patent information to improve the effectiveness of research in scientific and technical fields. The patent information is a reflection of the results of scientific and design work and makes it possible to evaluate the idea of an invention and determine the starting point of the search for new solutions.

As a conclusion, the article presents direct, indirect and prospective factors of the influence of library activities on the formation of intellectual property culture.

The article analyzes Soviet symbols that are present in Internet memes — an important, developing part of modern communication. Despite the fact that the Internet meme has many definitions, the article presents a clear, heuristic view that considers the Internet meme as an element of the emerging metalanguage. Such an understanding is possible due to the structure of an Internet meme, which contains an unchangeable part (language) and a changing part in every new picture (speech). This optics allows us to consider an Internet meme as a saying available for analysis.

Using this provision, the article examines the existence and functioning of Soviet symbols in Internet memes. They are usually the subject of various studies of cultural and historical memory. Despite the great attention paid to the Soviet memory discourse, researchers mainly focus on the confrontation of positive and critical memory about the Soviet experience and on the construction of such memory. The author puts forward the thesis about the presence of Soviet symbols outside this discourse and its consolidation in cultural memory and everyday communication on the Internet. The involvement of Soviet symbols can be found outside the paradigm of memory construction and any explicit political discourses. At the same time, Soviet symbols regularly appear in new Internet memes, acting as a universal, understandable code of culture. Symbols such as the hammer and sickle, the red star, the May Day demonstration, figures of leaders and many others serve as a matrix of understanding for everyday communication, purified from purely historical discourses.

Using various examples, the article demonstrates symbols, seemingly irrelevant to a young audience, which are successfully used in Internet memes that play out a variety of situations. This approach makes it possible to implement the interdisciplinary paradigm in the studies of cultural memory in the digital environment, using the methods of cultural theorists and the methods of media researchers.

Web series are a modern and actively developing audiovisual format, which, however, has so far received only limited attention from researchers. The format’s specific nature implies that it must be viewed from three angles at once: as an audiovisual product, in many ways akin to television and cinema formats; as a type of Internet content that exists in tune with the laws of its environment; and, finally, as a series per se, created with the canons and rules of serial narration in mind. Building on these three key aspects, it is possible to identify the specific format features of a web series and to find out how they influence its creation process, for example, in terms of storytelling strategies used in web series scriptwriting.

This article examines nine web series of different genres, produced in nine countries around the world. The aim of the study is to discover and trace the relationship between the specific features of web series as a format and the story structure of the selected series. Joseph Campbell’s monomyth scheme serves as a main tool of analysis and allows to present this structure as a series of key stages, making it explicit. As a result, it becomes visible how the hero’s classic journey gets transformed in a web series. This makes it possible to identify the main features of storytelling in this format and the techniques used by screenwriters. These techniques include, in particular, a quick start of the story, a focus on the heroes’ inner journey, complete exclusion of their parents from the plot, and some others. Thus, the study comes to the conclusion that the specificity of web series as a format is not only taken into account by screenwriters, but also forces them to transform the classic plot schemes to a large extent.

The study of records, handwritten notes and images on books allows to reveal the history of book existence as part of the history of society, to consider the reading process as a process of interaction between the reader and the book, and to trace the spread of books among various social groups. One of the “main characters” of this process, without a doubt, is ink — a material without which the creation of notes and drawings on books, and just on paper, would have been impossible. Specialists have a good idea of the appearance of the 18th—19th centuries records made with characteristic brown ink, the quality of which their authors paid great attention to, and often made it themselves. Ink had appeared in the ancient world, and, throughout history, ink recipes have been invented, developed, improved and, most importantly, recorded and published, which allows modern researchers to study them on the basis of preserved practical “manuals” and “home economics”. This study examines in detail the various components that were used to prepare ink in the 18th—19th centuries, describes the process of its production, and provides ink recipes from Russian publications of the 18th—19th centuries. The article shows that the number of recipes was increasing from century to century, which indicates an endless search for a perfect composition. Each manufacturer would develop their own “branded” recipe.

The article is devoted to the works of Dmitry Aleksandrovich Rovinsky (1824—1895), a famous Russian scientist and collector, the founder of Russian engraving studies. There are special articles devoted to him in modern literature, but mostly of a biographical nature. This article explores his methods for studying early Russian engraving of the 17th century. The author shows the directions and approaches to the topic identified and developed by D.A. Rovinsky. Exploring the scientist’s work in the context of the development of art criticism of the 19th century, the article reveals methodological errors in the attribution and identification of iconographic sources of Russian engraving of the 17th century. The article shows the features of D.A. Rovinsky’s approach to specific works, which determined his conclusions and observations in the assessment of Russian engraving of the 17th century, some of them remain relevant today. There are demonstrated the material research characteristics associated with socio-political reasons that determined the direction of censorship in relation to the study of plots and iconographic issues of early Russian engraving. The article shows for the first time the features of studying early Russian engraving of the 17th century as an independent phenomenon, reveals the origins of the formation of modern trends in art criticism (engraving) research, and demonstrates the processes of formation of our ideas about the initial stage of the development of the art of engraving in Russia as a special kind of art and a phenomenon of artistic culture.

The article analyzes the graphic series of the artist N.N. Karazin, prepared by him on the basis of the Samara scientific expedition to Central Asia in 1879, and published in the magazines “Niva” and “World Illustration” in 1879 and 1880, respectively. These series have not yet been considered by art historians, which makes relevant this study, as well as the artistic development of the topic of Central Asian ethnography in general. The author applies the method of comparative analysis; uses fragments of literary works by N.N. Karazin himself (ethnographic essays from the mentioned magazines), as well as by other writers and researchers of Central Asia; and offers new interpretations of some traditional types of Central Asian society (hajji, mullah, bacha).

The article opens with an analysis of a series of art works from the magazine “World Illustration” in 1880, which shows all the main stages of the expedition (indicating geographical objects and settlements) and presents the most complete and detailed ethnographic material.

The graphic series, published in the magazine “Niva” in 1879, includes four engravings depicting Turkmens from the Teke clan, which are already beyond the scope of ethnographic sketches and can be awarded the status of ethnographic paintings.

The article shows that N.N. Karazin’s methods of work during this period, as well as during his participation in the Amu Darya scientific expedition in 1874, allow us to consider him as a representative of the voyage pittoresque (pictorial journey) genre in Russia in the second half of the 19th century.

The idea of finding the source of V.V. Rozanov’s genius never left K.I. Chukovsky. The article traces the public polemical speeches of the writers from the period of K.I. Chukovsky’s residence in St. Petersburg to the end of the most vivid polemic in 1910—1911. There are examined the hidden details of the polemic of 1908—1909. It was devoted to mass detective literature. The article reveals fundamental differences between the writers. For the first time, there are presented handwritten additions to the well-known polemical article by K.I. Chukovsky “An Open Letter to V.V. Rozanov”. The author reveals the primacy of K.I. Chukovsky’s critical speech among the participants of the polemic with V.V. Rozanov of 1910—1911. The draft versions of V.V. Rozanov’s objections have never been published before as well. A comparison of the contents of K.I. Chukovsky’s letters and critical articles against V.V. Rozanov leads to the conclusion about the complexity of the writers’ relations to each other. They both highly evaluated the literary talent in their political opponent. At the same time, both V.V. Rozanov and K.I. Chukovsky followed the political direction of periodicals. Loyalty to the political programs of literary press bodies was mandatory. The article draws attention to the similarity of the ideas about the eclectic formation of cultural processes in society. V.V. Rozanov and K.I. Chukovsky were guided by the idea that political processes were secondary compared to the moral organization of a person. In the reissue of the “Open Letter”, the critic removed the texts condemning V.V. Rozanov for his opposition to the revolutionary movement.

D.V. Aynalov (1862—1939), a Russian Byzantinist, art critic and historian of Russian art, during his years at Kazan University (1890—1903) studied the issues of ancient Christian culture. For the first time, the article involves Aynalov’s newly studied iconographic heritage, which allows describing the creative laboratory of the Byzantinist and his original method of analyzing monuments. The author finds that the development of a new research methodology was facilitated by the expansion of the empirical base, which, in addition to apocryphal texts, included Aynalov’s own drawings, and photographs of monuments made by order of the scientist. In the article, D.V. Aynalov’s lectures on “Ancient Christian Art” are introduced into scientific circulation for the first time, allowing to reveal the argumentation of the scientist’s main idea about the connection between the late Antique style and early Christian art. Aynalov made two important discoveries in the history of Christian art. The first discovery was that, using the example of the mosaics of the church of Santa Maria Maggiore, Aynalov managed to identify an important moment in the transformation of the image of the Virgin Mary into the image of the royal Virgin. The second discovery was the transformation of the symbolic image of Christ in the form of a lamb into the image in the form of a man, using the example of the mosaics of Albenga. The implementation of a comprehensive interpretation of Aynalov’s iconographic heritage in the context of his ideas allows us to understand the scientist’s system of evidence and reveal his original concept of the development of Christian art in the West and East. His research made a significant contribution to the new concept of the universal history of art, in which a special place belonged to Byzantium, and later to ancient Russian art. Aynalov’s works contributed a great deal to the development of the scientific base on Christian art, art history and Byzantine studies in Kazan. The republication of D.V. Aynalov’s legacy of the Kazan period is of interest for both modern Byzantine studies and the history of cultural studies.

Konstantin Yuryevich Kalinovich (b. 1959), an artist and illustrator who demonstrates exclusive techniques and a high degree of detail in the field of printed graphics, is the owner of a large number of international awards, prestigious art prizes and the title of Corresponding Member of the Royal Society of Painter-Printmakers of the United Kingdom (1992). K.Yu. Kalinovich’s professionalism is also convincingly manifested in small forms — in the art of ex-libris. The artist’s formation as an etcher began in the Leningrad period of his studies in the experimental lithographic workshop of the Leningrad Institute of Civil Engineering under the guidance of G.P. Pakharevsky, and then continued at the Faculty of Graphics of the Ivan Fyodorov Ukrainian Polygraphic Institute. The creative heritage of A. Brunovsky and personal acquaintance with the Slovak master had a great influence on the formation of the individual graphic style. The artist’s bookplates, made in etching, are often homages in memory of old masters: the images created by H. Bosch, Pieter Bruegel the Elder, A. Dürer, H. Avercamp, J. Vermeer, and Rembrandt excite and inspire him to visual interpretation. The chosen range of artistic means is miniature, synthesis, printmaking as an independent expression of ex-libris. The technique is etching, less often watercolor, gouache. The type is a plot bookplate with the preserved function of belonging to a private library and the implementation of the customer’s idea. To the depth, picturesqueness and wide tonal range of etching, the artist adds original technical features: a dial from an old clock is selected as an etching board, and details of the clock mechanism are involved in the image base, correcting and warping the format and field of the etching with blind impressions. The plot echoing with the great artists and the meticulous thoroughness of K.Yu. Kalinovich’s technique generate original stories about the joy and pain of being, framed by a high form of appreciation for the art of the past. In the works of Kalinovich, the involvement in the composed metaphysical world, the visual images of which are fantastically realistic, monstrously attractive and historically filled, is clearly accentuated. The homage to the old artists’ art in Kalinovich’s bookplates is his world, forcing the viewers to reach for a magnifying glass so as not to miss a single line, while mastering the knowledge of the world art history.

The article presents an overview of Russian authors’ publications, mainly from the first issues of the journal “Technical Aesthetics” of the All-Union Scientific Research Institute of Technical Aesthetics (VNIITE). The purpose of this study is to highlight the controversial issues and problems relevant at the initial stages of forming the theory of a new type of artistic and industrial activities: technical aesthetics. The study’s relevance is determined by the fact that in the theory of design, at present, the aspect of the “art — design” linking is considered systemically incomplete. While the stages of the development of Russian design in chronological and biographical perspectives are covered quite fully by K.M. Kantor, N.V. Voronov, Yu.V. Nazarov, G.V. Vershinin and a number of other authors, but the theoretical aspects require further research development.

The years of the Institute’s active work (1960s—1980s) are called fruitful in conceptual, scientific and creative terms, it was then that the professional model of the service and interaction between design and the planned economy was finally formed. The article shows that, at that time, intensive discussions of the main problems of artistic design and the provisions of aesthetics were reflected in regular publications of a number of periodicals, especially the journals “Technical Aesthetics” and “Decorative Art of the USSR”; and the difficult question of the criteria for evaluating the aesthetic qualities of industrial products turned out to be paramount. The term “artistic construction” implied the solution of the problem of bringing art and science closer to industry. In this process, in the discourse of the principles of technical and aesthetic creativity, all employees of the Institute — theorists and practitioners who would become outstanding design specialists — took part.

The VNIITE’s activities met the demand of the time, the task of national importance — to establish mass production of a decent aesthetic level of industrial products. The period of 1964—1969 is the first stage in the study of the Soviet design formation history and is associated with intensive studying the heritage of the 1920s, introducing new materials into scientific circulation, formulating a number of new problems, and developing criteria for an objective assessment of many phenomena. It was accompanied by a number of difficulties in the relation between the settings of artistic construction and Russian art studies. This article justifies the importance of the work of the pioneers in the field of design in connection with other fields of art, and specifically with architecture and printing.

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