The article examines the creative and theoretical aspects of the scientific activity of Lev Naumovich Kogan (1923—1997), an outstanding Russian scholar, Doctor of Philosophy, Professor of the Ural State University. The uniqueness of L.N. Kogan’s creative activity was rooted not only in his manifold scholarly interests, which included philosophy and culturology, political science and sociology, ethics and aesthetics, but also in his special spiritual potential, manifested both in research and in pedagogical areas. The methodological basis of the scholar’s theoretical heritage was culture — creative and political, economic and ecological, everyday and industrial. The article shows that L.N. Kogan’s interest in phenomenology of culture coincided with the period of emergence and development of Russian culturology (1960s—1980s), when the field of humanities engaged in exploration and development of its specific culturological methodology and when the first conceptual studies in the theory and history of culture were published. The author points out that in his works, L.N. Kogan raised a wide range of humanistic ideas — the purpose and meaning of human life, the issues of an individual’s socialization and self-realization, the moral responsibility of a person before History, before Eternity. L.N. Kogan’s academic legacy, which includes about 450 works published in the USSR, in Russia and abroad, is still relevant in the theoretical and practical space of culturology and other humanities.

The paper considers the cultural code of polyethnic Pridnestrovie in the cultural discourse. The cultural code is the key to understanding the culture of the peoples living in this territory, taking into account the unique features of historical development paths that allow representatives of various nationalities to peacefully coexist and develop in the conditions of non-recognition. The Pridnestrovian Moldavian Republic, formed on September 2, 1990, exists de facto, but not recognized de jure.

The culture of the population living there was formed under the influence of both geographical, historical, registering, organizational aspects and political factors, and as a response to the ongoing discriminatory interethnic policy of neighbouring Moldova. This is due to the multinational composition of the republic (more than 70 ethnic groups), which is reflected in the heterogeneity of culture — in the form of intersection of cultural circles of various ethnic and cultural branches (Eastern Romanesque, East Slavic, South Slavic and Turkic). Assimilation processes taking place on the territory of the newly formed multi-ethno-cultural state have led to the formation of just such an ethnic consciousness of the population, which is united not only by a single history and territory, language and culture, but also on the basis of a formed special mentality, characterized by a tolerant worldview. Through the prism of historical realities, legislative acts, state cultural policy, the author considers the necessity of applying multiculturalism, which allows ensuring the rights of ethnic communities of Pridnestrovie, preserving and developing their cultural differences.

The author proposes for consideration and discussion his vision of the markers of the cultural code — ethnic culturalness, ethnic tolerance, Russian culturalness and information culture. In Pridnestrovie, where Orthodox culture dominates with clearly expressed values of poly-confessionality, intercultural communications are built on the basis of preserving their national and cultural identity, contribute to a positive perception and understanding of behavioural reactions, disclosure of aesthetic formulas, specifics of worldview and behaviour of such a young community of the population of region as the Pridnestrovian people.

The article reflects the actions of the central bodies of the country, overseeing the art activities in the area of study, preservation, conservation, restoration and promotion of Russian medieval art in the 1940s—1970s as an indicative system of a comprehensive integration approach.

The relevance of the work is to activate information on the formation of the rhetoric of the scientific community of the 1960s on the problem of studying monuments of Karelia and the Russian North, unknown until the specified time or registered, but did not have the status of a protected monument. By the exhibition “The results of the expeditions of the museums of the RSFSR on identification and collecting works of the Old Russian art” (1966), the consolidation of museum forces and capabilities of the governing bodies for the study of works of art in the complex of restoration, protection, scientific, educational potential increased.

The purpose of the article is to show the result of joint efforts of representatives of the RSFSR cultural departments and members of the museum community in the study, preservation, replenishment and presentation to the public of a number of materials of the culture of the Russian North. The author considers the coordinated actions that led to a landmark event — the reveal of a gap in the national art studies and its filling by means of expeditions, conservation of art monuments on the ground, restoration work in workshops in Moscow and Leningrad, exhibition activities, scientific discussions, participation in conferences and congresses, publication activity.

The events successfully implemented in the designated thematic plan — the study of the culture of the Russian North, determined the vector of development of the study of the art of icon painting of Novgorod and Moscow lands in the 1970s and 1980s. The author notes, that in the subsequent period, such large-scale and fruitful events were not held. The close-knit work of the Ministry of Culture of the Russian Federation, several departments of the State Russian Museum, and other museums of our country lasted throughout the period of 1940s — 1970s. Thus, this example can be regarded as the only indicator of a large-scale project in the history of Russian art, including scientific research, expeditions, restoration, educational activities and conferences.

Chest has been used by man for centuries. It served not only as a storage container for documents, valuables, dowry, but also as a table, bed and bench. Throughout the history of Russian chest craft, several basic designs have developed. Despite the importance of the problems and questions related to the design features of the Russian chest, no special research was devoted to them. Information found in the literature is sketchy, and the sources give only the basis for assumptions. The purpose of this article is to identify and analyze the main designs that existed in the Russian chest production. The main tasks include: the introduction of new information into scientific circulation and the analysis of specific works. The research material involved works from the collection of the State Russian Museum and other museums. Chronological framework of the study is from the 16t through the first quarter of the 20th centuries. This is explained by the fact that the first Russian preserved chests dated back to the 16th century, and beginning with the first quarter of the 20th century, mechanization of production had become increasingly growing in the chest craft, which resulted in a significant decrease in the quality of products. The author comes to the following conclusions: there were four main designs in Russian chest production – sarcophagus, frame-panel (as a variant of the first), ‘dovetail’ and manufacture; there was a dependence of the design of chests on the forms of production organization; the design of the chest can currently be only an additional attributing feature; the repertoire of designs to which European masters applied, was richer than accepted in the Russian chest craft.

Despite the longtime research of Russian furniture art, the area of ancient monuments still requires in-depth study. The existing attributions of monuments, carried out in the 19th and 20th centuries, do not have convincing justifications. The least studied is the furniture belonging to the pre—Petrine heritage, which traditionally dates back to the 16th — 17th centuries on the basis of either the time of the owner’s life (whose name was often preserved as a documented unconfirmed legend) or the date of creation of the architectural structure (the place of discovery). The author believes that these artifacts should be considered as an object of art, included in the context of the development of European styles, and, respectively, their attribution should be carried out on the basis of methods adopted in art criticism practice — descriptions and analysis, which together give the most objective result. To test the proposed method, the article considers a monument from the furniture collection of the State Historical Museum (SHM) — “The Table of Princess Sophia”. To date, it has been attributed twice: in the inventory book of the SHM’s Department of Wood and Furniture — as a sample of furniture of the late 17th — early 18th century; and in the dissertation of the curator of this collection Z.P. Popova — to the 1690s. The results obtained show that the written sources used in the article, the discovered analogues, and the analysis of the constructive and artistic solutions of the subject allow us to attribute this monument to the work of domestic masters and determine the time of its creation in the 15th — first half of the 16th century, as well as to use it as a reference subject for attribution. At the same time, the analysis of the provenance of the Table shows that there are no grounds for confidently asserting its former belonging to the sister of Peter I. The preserved legend should rather be used in a subjunctive sense, and the main memorial component should be considered a connection with the past of the Novodevichy Monastery.

The paper considers the contribution of the works-laureates of the national literary prize “Big Book” to the formation of the “Moscow text” in the domestic literature of the 21st century. The relevance of the topic is determined by the most important role of the “Moscow text” in Russian culture in general and in the modern literary process in particular. The novelty of the research is in the specific consideration view of this cultural phenomenon: through the identification of characteristic features of the “Moscow text” in the works marked by the “Big Book”. The author presents review of the works of laureates, where Moscow is mentioned: popular science publications and works of art (mostly large, in several cases — medium epic form). The author shows that the place and role of Moscow in the text are always individual, correlated with the artistic tasks of each author and his personal perception of the city. The review starts with the collection of essays by the Moscovite scholar R.E.Rakhmatullin, dedicated, by definition of the author himself, to the metaphysics of Moscow. Then the author considers the novels by A.A. Kabakov, V.A. Zolotukha and L.A. Yuzefovich. Each of them has created an expressive image of the Russian capital in different periods of its existence. In a number of the works considered, Moscow primarily acts as life environment of the central character: lifelong (in L.E. Ulitskaya) or corresponding to a certain, more often initial period of biography (in M.S. Stepnova, M.P. Shishkin, etc.). In all these cases, the place of residence affects the fate of the character and, in turn, is characterized by the events of the plot. In a separate block, the article highlights the novelized biographies of Moscow writers, in which the capital is depicted as the centre of the literary life of the country. The paper shows both the role of each named writer in Moscow literary life and the reflection of Moscow life in his work. The author considers the ways of creating the image of the capital: from the description of urban landscapes to the reproduction of the “Moscow spirit” itself.

The topic of the director’s work with a documentary’s central figure on the screen, in the conditions of active distribution of visual content, especially in the genre of interviews, is undoubtedly relevant. The interviewee’s preparation for filming, the methods of their emancipation, the achievement of the ultimate goal and the truth of life on the screen require detailed study, professional knowledge based on the experience of the classics of documentary film directing — D. Lunkov, Yu. Shiller, I. Belyaev, A. Lysenko, etc. Long-forgotten techniques are closely intertwined with innovative ideas of directors. These include what behavior the interviewer or presenter decides to adhere to. Depending on the combination of factors, the tone and course of on-screen conversation in different genres may change. By adopting a tough model of behavior, the presenter can make the conversation’s tone tense and, at the same time, more dynamic and sharp, while a soft behavioral model can make the conversation more sincere and friendly. The article analyzes the specifics of the director’s work with a central figure in the process of creating documentary screen works. The authors attempt to comprehend the experience of previous generations of documentary filmmakers, so that young specialists can take into account their mistakes and achieved results when working with the so-called non-actor — a documentary’s central figure in the audiovisual screen space. The article concludes that, despite the fact that the solutions to complex problems in the work of a director with a documentary’s central figure have already been described by leading practitioners and theorists in the field of audiovisual screen arts, the process of forming a central figure in film and television documentaries is not over. There are controversial points of view on a number of aspects of disclosing the personality of a documentary’s central figure, their emancipation on camera and the truth of life on the screen. Therefore, relying on the previous experience of the professionals and taking into account the emergence of new technologies, the younger generation of directors needs to use already well-proven techniques in their work, as well as try to find and apply new approaches (techniques) when creating documentary screen works having a central figure.

The article considers a complex of philosophical connotations, imagery and mythologies demonstrated by promotional materials (trailers) of game projects of the Witcher series. Embodying the concept of myth-making in the space of audio-visualized arts of the information revolution era, they appear as a special form of visualized text and a way of expressing narratives.

Actualizing the problem of positioning promotional materials of game projects, the author focuses on the fact that the trailer and teaser of the game project, as a special cinematic tool (which is demonstrated in the article), have a broad imagery, bearing the “philosophy” of the project, which gives the game action meaningfulness and expediency.

The cinematic trailer, while maintaining its function of product positioning, is not only an independent work, but also a carrier of diverse and numerous archetypal constructions that form the mass consciousness (now once again tending to mythologization in the conditions of rejection of the classical postulates of rationalism). This, in turn, determines the design of the phenomenon of “new mythology”, which actively instrumentalizes “classical plots and imagery”, thereby demonstrating continuity in the spiritual development of human civilization.

Taking into account the fact that the trailer is a kind of quintessence of ideas that characterizes the basic features of a certain cluster of the mass culture information space, they can be interpreted as a techno-artistic phenomenon having a hybrid nature, demonstrating the transformation of cultural production within the framework of historical discourse. Thus, it demonstrates the process of transformation of the complex of stereotypical mental constructions of social organization, which, in the conditions of globalization, takes the form of an international category.

According to the author, this phenomenon manifests itself in a significant increase in the degree of mythologization of the modern multicultural tradition, which, in turn, leads to the formation of a new cultural paradigm based on the concept of providentialism. It, in turn, acts as a tool for analyzing the historical and cultural process based on the instrumentalization of previous experience, which is changing in the global discourse.

The author examines Romanian Russian-language publications by the representatives of literary traditionalism issued after the Second World War. The article reveals the features of Romanian literary traditionalism and the specifics of its reflection in the large magazine “Mysl”, which was the main printing body of this trend in the period between the two World wars. The article presents the history and landmarks of this magazine. The author explains complicated post-war political course attitude towards literature, aspirations of which often did not coincide with the requirements of the time. The paper concludes about the positive and negative sides of the publications of traditionalist writers in the 1960s — 1980s, where the very possibility of such publications was a positive event, and the negative one was the concealment of a much larger number of unpublished parts of the heritage of Romanian literary traditionalism behind a small number of publications. From the circle of authors of the “Mysl” magazine, successive traditionalist writers are singled out, whose works in the post-war period were published in translations into Russian. Within the framework of Romanian literary traditionalism, the author distinguishes its main directions — autochthonism and expressionism. The analysis of the differences and similarities between them is supported by the consideration of the texts of the works of representatives of both directions, reflected in Russian translations. The paper concludes on the complex three-part model of Romanian literary traditionalism, the core of which is the concept of “village”; and the author highlights the features of interaction of all the components around the centre of this model. The relevance of the article is due to the small number and inaccessibility of these publications caused by the one-time and olden publications abroad, rare publications in our country and the lack of republications.

The article is devoted to the study of images of boats in Russian chronicles and hagiographic miniatures of the 15th—17th centuries. Shipbuilding is an important component of Russian culture. Thus, the emergence and evolution of water transport contributed to the development of fishing, trade relations and various cultural and historical processes. Over the centuries-old history of navigation and shipbuilding, the image of a ship has acquired a sacred meaning for human. Ship motifs were at the centre of many outstanding works of fine art, literature and music. Images of ships and boats were widespread in chronicle and hagiographic miniatures. They contain a huge layer of visual information for the study of shipbuilding culture. It is visual information that is the main one for studying shipbuilding, which determines the relevance of the issue.

The inclusion of miniatures in the context of the study of shipbuilding makes it possible to obtain information about the methods and technologies used in the manufacture of a water vehicle, an idea of the external appearance of the vessel, what changes it has undergone, what watercrafts were typical for a particular area in a certain period of time, etc.

The novelty of the research solution is in the fact that the author, having carried out the detailed analysis of the images of ships and boats presented on Russian miniatures of the 15th—17th centuries, revealed the design features of the depicted vessels and established that the prototypes for the images were real ships that sailed in the 15th—17th centuries.

The article examined water vehicles presented in the miniatures of the Koenigsberg (Radziwill) Chronicle of the 15th century, the Illuminated Compiled Chronicle of the 16th century, the Illuminated Collection of the Lives of the Vologda Saints of the 17th century, the Hagiography of Anthony of Siya of the 17th century. Moreover, the last two sources were involved in the study of the shipbuilding tradition of Russia for the first time. The author established that the images of ships in miniatures can be used as sources for studying the technologies of construction of ships of various types that existed in Medieval Russia, as well as for reconstruction of ancient ships.

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