«IF A MAN IS INDIFFERENT TO THE HISTORICAL MONUMENTS OF HIS COUNTRY, THEN HE IS INDIFFERENT TO HIS COUNTRY»: HISTORIOGRAPHIC REVIEW OF HISTORICAL AND CULTURAL ACTIVISM IN LATE-SOVIET PERIOD

This article is dedicated to the problem of historiography of historical and cultural activism in Late Soviet period. In the article there is a short review of Local Lore movement formation in USSR. Also, the main directions of research on the study of historical and cultural activism in Soviet, Russian and Western historical science are presented.

THE ROLE OF METAPHOR IN HISTORICAL KNOWLEDGE

The article continues the author's series of publications on the terminological apparatus of the historian. The problems of humanitarian science cannot have "final solutions". F.R.Ankersmith paid attention to the fact that the attitude to the role of metaphors knows not onli "ups" but also "downs". Exploring aspects of the conceptual arsenal associated with the explicit use of the metaphor. "Implicit use" refers to those semantic situations when a historian or another humanist enters into a kind of dialogue with other sciences, carrying out terminological borrowing. Since the semantic content of the term changes in this case, then, in essence, a metaphorical action takes place that does not require a special name. The article contains, the author's reflection on the circumstances and features of the use of metaphors. The author finds out how and why historiography becomes metaphorical. Referring to specialists who developed the cognitive basis of the theory of metaphor, the author analyzes different traditions of understanding what metaphor is. There is a search for a positive sense of metaphor usage with some ambiguity. Since the metaphor creates a new meaning of the word, its cognitive significance becomes unquestionable. By citing examples of various uses of metaphors in the texts of historians, the author shows how a metaphor helps clarify the uniqueness of historical situations.

THE ATTRIBUTION OF SOME SIBERIAN BELLS ON THE EXAMPLE OF COMPARISON OF SEPARATE DECORATIVE ELEMENTS

The issues of attribution of the bells of Siberian casting when there isn't enough information about the manufacturers themselves and their products is a topical problem. The article tells about similarities of some decorative elements of the bells cast supposedly in the plant of the Ghilevs, the merchants from Tumen. The suppositions based on comparison of the icons are supplemented by the data of chemical analysis of the bells. The creation of a database of photographic images of the bells of Siberian casting is being considered, which will enable to attribute the works of unknown craftsmen.

BELLS, LANDSCAPE, LIFE, TIME (ACCORDING TO ORTHODOX LITERATURE)

The article shows how the bell ringing was interpreted in the Russian Orthodox (mainly pre-revolutionary) literature, and indicates important ethnographic details recorded in it.

ON THE HORSE, PROLETARIAN". RUSSIAN RIDER IN THE MILITARISTIC MYTHS OF POWER

The consequences of the First World War had the most serious impact on the development of the national myth of power, where the image of the rider played a dominant role. After the October revolution, the development of the symbolic image of the Russian rider shifted to the sphere of revolutionary cult. Heroic myths about red riders embodied in artistic images of mass culture, understandable to the proletariat. The image of the Russian rider received the most stable connotations in the militaristic scenario: Russia's special historical path determined the originality of its national symbols. The main essential characteristic of the image of the Russian rider was his connection with the cycle "death-rebirth- immortality" due to the special mission of the hero as a defender of the Fatherland. The apotheosis of the development of the symbolic image was the triumphant departure of "Victory Marshal" G. K. Zhukov at the Parade on July 24, 1945. "It was the last day when the dead stood in columns next to the living", - wrote the biographer of "Victory Marshal". In 1950s the cavalry in the Soviet army was disbanded, the activities of military stud farms were stopped. However, the symbolic images of remote riders throwing their horses into a rapid attack remain clear to most of us even now.

THE LAWS OF CHRISTIAN CULTURE IN THE LATE POETRY OF ELENA SCHWARTZ

The imagery of Fra Beato Angelico's fresco is grotesquely transformed in the poem dedicated to it by Elena Schwartz, as a reason for discussing the destiny of human. Painting is viewed as a way to relate a person to physical and metaphysical space, turning the circumstances of the current life into the details of another being, and tourism into a kind of pilgrimage to other worlds. The article reconstructs the structural opposition of the poem and proves that they create a working model of Christian culture. It has been established that Schwartz views Renaissance art not as naturalistic and representative, but as exploring the boundaries of various material phenomena and their existence in time. She also interprets medieval art as deductive rationalism, which gives the keys to the experiences of modernity. Reflections on art make it possible to reassemble the impressions of the experience, understanding medieval dogmatic intuitions not just as correct, but as modern. Schwartz, criticizing representative art and reconstructing medieval presumptions of art creation, clarified the boundaries of the artistic expression of Christian dogma.