FEATURES OF FORMATION OF THE MUSICAL INFRASTRUCTURE OF KEMEROVO REGION (20–40-TH YEARS OF XX CENTURY)

Describes a stage of formation and development of music in the Kemerovo region's infrastructure as a young industrial region of Russia. Due to interaction between socio-cultural and socio-economic aspects of development of the region, the musical life of the Kemerovo region was prepared in the pre-industrial period (until 1920), featuring the development of music performance within folk, Church, amateur music-making and unable to exit professional level due to lack of expertise in the region. After the October revolution in the conditions of intensive formation of the industrial structure in young cities region and the initial installation on massification of amateur (amateur) creativity, gradually formed the basis for the establishment of a fully fledged musical infrastructure. This phase was marked by the emergence and intensive development of musical performance mainly in the form of amateur music: choral and instrumental groups in constructed folk houses and clubs, performing cultural and educational functions among the working population. Parallel to the process of formation of the educational basis of musical infrastructure: opening of children's music schools, music schools, offices, children's creativity centres at clubs and houses of culture industry enterprises. During the great patriotic war, resulting in the evacuation and the arrival in the region of creative collectives and professional musicians going on formation of academic performance. Creating a pop concert Bureau (1943), subsequently converted in Kemerovo Oblast Philharmonic, translation of theatre of musical comedy (1945 g.) led to revitalize and strengthen the processes of professional music art items in Kemerovo oblast. With the opening of vocational educational institution-Kemerovo musical College (1944)-lay the Foundation for training new personnel in the sphere of musical culture of the region. With the advent of the professional segment in the cultural traditions of stabilization activities are envisaged with the totality of the prevailing musical infrastructure functioning in the context of the musical life of the region. Consequently, the period under review is an important link in the panorama of music art development in the industrial region, and determines subsequent lush flowering in 1970–1990.

RUSSIAN ARTHOUSE FILMS OF THE EARLY XXI CENTURY: FEATURES OF ARTISTIC STYLE

Contemporary Russian theater and cinema are approving a new aesthetic paradigm that implements such principles of postmodernism as deconstruction, relativism, a mixture of various types, genres, and stylistic devices. The purpose of this article is to identify the most characteristic stylistic features of Russian arthouse films of the 21st century. The author’s task was to show that this style is not something radically new, as some art critics and cultural experts try to present. Using the methods of hermeneutic, art history and comparative analysis, the author identifies the methods and techniques of creating a special art space that are characteristic of modern Russian arthouse. These are combining real and conditional, concrete and symbolic, psychology and parable, recognition of everyday realities and explicit functionality of the characters. Based on the idea expressed by a number of scientists that there is much in common between the state of the modern world (that is, what is now called postmodernism) and the public consciousness of the Middle Ages, the author of the article puts forward a hypothesis about the similarity of the stylistic techniques of the Russian arthouse with the aesthetics of the Middle Ages. First of all, arthouse films bring closer to the literature and art of the Middle Ages such a characteristic as hybridism, i.e. combining different styles in one work, in particular, combining a realistic image with a parable form and symbols and an artistic interpretation of space as a background that weakly interacts with characters. First of all, Russian arthouse films brings closer to the literature and art of the Middle Ages such a characteristic as hybridism, i.e. combining different styles in one work, using, along with a realistic depiction of the parable form and symbols and artistic interpretation of space as a background that weakly interacts with characters. One of the reasons for the emergence of a new aesthetic interpretation of art space in modern Russian literature and cinema was the radical changes that took place in Russia in the 1990s. The disappearance from the world map of a huge country called the USSR and the loss of familiar landmarks and stereotypes could not but affect the worldview of artists, writers and filmmakers trying to artistically comprehend what is happening. The conclusion that follows from the analysis is that many principles of the aesthetics of postmodernism were reflected in the style of the arthouse films of 21st century, with the exception of such traits inherent in the best postmodern examples as humor, irony, game element and non-linearity of narration. The coexistence of real and clearly conditional art space in such films contributes to the fact that the cinematic texture contradicts conditional situations and characters, causing the viewer to feel art inorganic. Analyzing the perception of art films by experts and the audience, the author concludes that the assessments of art critics and viewers are largely diverging for the same reason: viewers mostly perceive author films as works of a realistic style but can not find in them psychological characteristics of the heroes and the motivation of their actions, i.e. the traits inherent in realism; experts evaluate these films based on the presence of the elements of symbolism and metaphorism and metaphysical and universal image of reality.

ASPECTS OF THE THEORETICAL UNDERSTANDING OF THE FOLK AND FOLK STAGE DANCE OF ALTAI

The development of Altai dance is closely related to the history of the Altai people. Modern Altai people, like other Turkic peoples of Southern Siberia, have not preserved traditional dances in the form in which they were performed in everyday life. The reason for this was that the art of dance has a spatially – temporal character and it is difficult to record it. It is necessary in the analysis of folk dance to use the instrumentation of all fields of art science, to apply a systemic and interdisciplinary approach. It is in this that the authors see a further research horizon. In modern conditions, when the self-consciousness of each people increases, choreographic art, as part of the spiritual culture of the people, responds to all the events of life. The relevance of this study is due to the modern trend of the revival of the national and cultural heritage of the Altai Republic. One of the pressing problems of modern choreography, its theoretical understanding, is the study of the origins of folk stage dance. The fact that lacunae exist in this area of historical and cultural knowledge is evidenced by the lack of textbooks, incomplete complexes of educational and methodological literature. Choreographers, both in the educational process and in staging practice, are faced with the need for a clear theoretical design, the development of a scientific apparatus in this matter. In folk dance, closely connected with the life and life of the people, the peculiarities of its character, feelings, temperament, manner of artistic thinking are especially pronounced, that is, a kind of “choreographic portrait of the nation” is created. Folk dance, plastically expresses ethnic historical experience, is a kind of artistic embodiment of the historical memory of the nation, and thus affects the strengthening of national identity. The importance of the theoretical understanding of folklore in the development of choreography (as in musical or decorative art) is difficult to overestimate. He is a source of ideas, expressive means, often becomes an aesthetic standard in the creative activities of the modern choreographer. The national identity of the dance culture of the people is connected with the stable historical community of language, territory, economic life, psychological warehouse, culture of life, customs and traditions. National art bears both the originality of what it reflects and how it reflects. All this is reflected in folk dance, affects the nature of plastic. From here, the dances of one people are not similar to those of another, and even one ethnic group, divided geographically, dances differ. For example, Russian folk dance has common features characteristic of Russian dance in general, but at the same time it also has bright regional features. Dance culture in geographically distant territories varies in character, manner of performance, and originality of drawing, and subject matter. The main difficulty in studying this issue is the difficulty of “translating” the plastic language into speech discourse. Hence the difficulty in fixing and writing the description of choreography. There may be discrepancies and misinterpretations of the records of researchers of the past due to the lack of an agreed methodology and categorical apparatus.

CHARTRES SCHOOL IN THE 12TH CENTURY CULTURAL RENAISSANCE: SUBSTANTIVE PRIORITIES AND EVOLUTION VECTORS

The author analyzes the prerequisites for the formation of a theological and philosophical school, founded in 990 by Bishop Fulbert in Chartres, which flourished during the years of the Episcopal ministry of Yves of Chartres (1090–1115), a recognized intellectual center of Western Europe. The role of the Chartres Cathedral School as a citadel of metaphysical, cosmological and natural-scientific Platonism in the era of early scholasticism is revealed. The philosophical orientation of the Chartres school (orientation to the ideas of Neoplatonism), as shown in the work, is the result of a combination of the ideas of Plato, aristotelism, stoicism, pythagoreanism, Eastern and Christian mysticism and religion. The body of ideas characteristic of the Neoplatonism tradition is analyzed, the account of which is essential in understanding the specifics of the Chartres school ideological platform: the ideas of a mystically intuitive knowledge of the higher, the stages of transition from “one and the universal” to matter, the idea of comprehension of pure spirituality. The thesis is substantiated that the time of the highest prosperity of the Chartres school, its highest fame is the XII century, which went down in the history of civilization as the era of the cultural renaissance taking place in France. The specificity of the 12th century renaissance, as shown in the study, lies in the growing interest in Greek philosophy and Roman classics (this also determines the other name of the era – the Roman Renaissance), in expanding the field of knowledge through the assimilation of Western European science and the philosophy of the ancient Greeks. The thesis in which the specifics of the entry of Greek science into the culture of Western Europe is also identified. This entry was carried out through the culture of the Muslim world, which also determined the specifics of the cultural renaissance of France of the XII century. Radical changes are revealed that affect the sphere of education and, above all, religious education; the idea of reaching the priority positions of philosophy and logic is substantiated – a situation that has survived until the end of the Middle Ages. This situation, as shown in the work, was facilitated by the rare growth rate of the translation centers of Constantinople, Palermo, Toledo. It is shown that scholasticism in its early version is oriented towards religious orthodoxy. In the teaching of philosophy, the vector turned out to be biased towards natural philosophy, which was due, as shown in the work, to the spread of the ideas of Aristotle and Plato. In its educational program, the school synthesized the teachings of Plato and Aristotle. Elements of natural philosophy are inherent in the works of Bernard of Chartres, Gilbert of Poitiers, Thierry of Chartres representing the Chartres school. Deep studies on the problem of universals ensured the invasion of logic in the field of metaphysical constructions of the Chartres school.

EVOLUTION AND CULTURAL SIGNIFICANCE OF GREEN PUBLIC SPACES IN KRASNOYARSK

One of the criteria for a comfortable ecologically clean urban environment is access to green spaces, their number and quality in any given city. Public green spaces play an important socio-cultural role in the context of active and passive recreation of citizens, various types of recreational activities. The relevance of this study is due to increased attention to the formation of open public spaces in the city of Krasnoyarsk. The purpose of this work is to trace the evolution and identify the social and cultural significance of the green public spaces in Krasnoyarsk. The objectives of the research are to study the green spaces of Krasnoyarsk in a historical retrospective, analyze the green spaces of Krasnoyarsk from the point of view of their ecological significance, recreational use. Research methods included literature review on the topic, analysis of historical data, field survey of the territory, long-term observation, photographic recording, comparative retrospective analysis, and graphic-analytical method. The study captures the most common types of public green spaces and their role in creating a comfortable urban environment. It traces in the most detail the evolution and cultural significance of the most important historical green spaces in Krasnoyarsk: the City Garden (now the Central Park), Yudinsky Garden, Krutovsky Garden. These examples show that gardens and parks can be formed both on the basis of the natural environment of urban forests, and artificially created by the efforts of citizens, that over time they can undergo various quantitative and qualitative, planning and functional transformations. Despite the transformations that have taken place, all the studied historical objects still exist and are used for their intended purpose. In addition to these historical green areas, we examine the newly organized public green spaces with a cultural and recreational component over the past decades: Tatyshev Park, All-season Fun-Park Bobrovy Log, Flora and Fauna Park Roev Ruchey, Dream Gardens and others. The article notes the importance of municipal, public and private initiatives in the organization of local green areas. The analysis allows us to assert that there is a certain system of public green spaces in Krasnoyarsk. It has disadvantages, such as an uneven distribution of green areas throughout the city, lack of interconnections between individual elements, aging of certain areas of greenery, and the complete destruction of some. Nevertheless, the city authorities, architects, designers and the general public make great effort to create a green framework for Krasnoyarsk destined to have an important recreational and cultural role.

CHINESE NATIONAL PICTURE NIANHUA – A PHENOMENON OF CULTURE OF THE XX CENTURE

Chinese folk painting nianhua (literal translation, “New Year’s picture”) is a kind of Chinese graphic art, which received a wide popularity in the late XIX – early XX centuries. On the eve of the New Year in China everywhere decorated interiors of living rooms with colorful pictures containing New Year’s greetings, they were pasted on windows, doors, gates. Decorative pictures had a utilitarian and cultic purpose: images of mythological characters and gods symbolized happiness, longevity, prosperity, protected from disasters and misfortunes. At the beginning of the 20th century, nianhua was produced in the woodcutting shops in a woodcut way, since the middle of the 20th century have been used modern technologies, including printing. New Year’s paintings significantly different from national academic painting. The philosophical concept of New Year’s painting was to reflect the spiritual life of the people, moral values, and artistic tastes. The images were built on the basis of folklore motifs, a rhythmic combination of bright colors created a decorative effect, so nianhua is a valuable material that demonstrates the aesthetic representations of the Chinese people, their folk traditions and symbols. The themes of the New Year’s paintings are extremely diverse and includes the following: scenes from classical literature, religious and symbolic and benevolent drawings, genre art painting, calendars depicting 12 cyclic signs of animals, agricultural calendars and advertising pictures. During the history of its existence, the New Year’s picture plays an important political and ideological role. Traditional paintings propagated the foundations of the orthodox Confucian ideology about social and ethical relationships, including hierarchy in the family and society: “Wu lun – the five principles of relationships”, “Xiao – filial piety”, “Ren – patience”. In the second half of the XX century, the New Year's picture is developing as an agitational poster. Under the influence of European painting and modern political processes in Chinese society, artists began to use a new artistic method - revolutionary realism on purpose to illuminate sociopolitical events, propagandize government tasks and resolutions. The basic principles of painting the New Year’s picture are the decorative character (the brightness of colors, the rhythmic combination of color spots), the hyperbolism and idealization of images, the folklore basis of plots and the conventional symbolic-metaphoric language.

SOCIOCULTURAL BASIS OF URBAN PLANNING REGULATION FOR PUBLIC OPEN SPACES

The authors consider the problem of urban planning regulation of public open spaces from the perspective of their dominant role in the formation of a holistic socio-cultural structure of a city. Relevance of the study is determined by the modern demand for comfortable urban environment of the public open spaces, which has become the global urban planning trend in recent decades. The modern approach, promoted in the UN Charter and in federal and regional strategic development programs is aimed at increasing the emotional attachment of people to a place of living and fostering a sense of community. The improvement of public spaces should be based on the historical and cultural context, natural features, and the identity of a place. The implementation of numerous projects all over the country has revealed the flaws of urban planning regulations. This fact stimulated the emergence of targeted contests of applied research aimed at the development of new national and local regulations, standard architectural solutions which would provide high-quality development of the urban environment. Analysis of the approaches to public open space development reveals current trends in their planning regulation, which are considered in separate sections of the article. The first section explores the mechanisms which regulate the improvement of urban historical and cultural sites. It touches upon the problems of preservation of cultural heritage and the identification of landmark places. It also considers examples of the urban planning regulations for the areas of “historical urban regeneration” (Dresden, Ivanovo, Arkhangelsk, Voronezh, Belgorod) and the examples of completed projects in Siberian cities (Yeniseisk, Krasnoyarsk, Tomsk, Irkutsk). The second section is devoted to the identification and preservation of unique natural elements and images of a place through the urban landscape zoning. Different approaches to solving issues of improvement and humanization of the living environment are considered using examples of Berlin, Paris, London, Moscow, Krasnoyarsk. The third section presents a comparative analysis of existing Russian and foreign regulatory documents aimed at creating an environment of public open spaces in urbanized areas of a city. Of particular interest here are the methods of regulation that take into account functional content, development morphology, remoteness from city center, natural and socio-cultural characteristics, as well as those aimed at protecting the wildlife (Seattle, New York, Toronto, London, Victoria Australia). The socio-cultural phenomenon of public open spaces highlights the fundamental relationship between the quality of spatial environment and human consciousness, behavior, way of life. Therefore, a tailored approach to the creation of architectural and landscape planning regulations will allow to treat each public space substantively, preserving and maintaining the identity of the historical and cultural environment of a place.

THE ISSUE OF CONTEMPORANEITY AS CULTURAL AND HISTORICAL TOTALITY IN THE WORKS OF BORIS GROYS

The authors refer the issue of definition of contemporaneity as cultural and historical totality basing on the research results of a well-known theorist Boris Groys. Analyzing the progress of his ideas, the authors conclude, that the philosopher’s considerable contribution to the science is composed of the next phase of the development of the thesis about the art language as the base of contemporaneity construction and of the “natural selection” of contemporary art structures. The latter is not simply reduced to the postmodern “polylogue” variant, but implies a kind of contemporaneity patterns niche and “stabilization”. The patterns naturally tend to become complementary due to simple juxtaposition/ overlay in general time context. According to the authors, this circumstance does not prevent them from being turned by different political forces into locally dominating contemporaneity patterns (as in the case of Gesamkunstwerk Stalin). Contemporary art provides simple experience, that helps to retain the illusion of single and seemingly total contemporaneity. B. Groys leads us to the thought that art provides conditions for generating a significant reflective distance in relation to different social and historical situations. The distance gives an artist the opportunity to consider the reality comprehensively, given the autonomy, through the art language. However, we believe, that the most important philosopher’s achievement is not only drawing parallels between cultural and social and historical processes, based on the concept of art strategies influencing the social dynamics. He also managed to approach one of the most significant issues in culture theory and history – the opportunity to define contemporaneity as cultural and historical totality. According to his modernity theory, the origin of contemporaneity is hidden in the avant-garde art manifestation. He interprets the utopic by its nature modernist discourse, applied in art practice, through Nietzscheian will to power as redefining the new age philosophy. This article aims to analyze the progress of the issue of contemporaneity in the works of B. Groys and to explicate the complexity of considering contemporaneity as cultural and historical totality. The authors believe that the thorough study of the phenomenon of total artwork (Gesamtkunstwerk) as a soviet Stalin project and critics’ opinion analysis helps to create arguments limiting the opportunity of considering contemporaneity as totality.

THE LIBRARY AS A COMPONENT OF THE EDUCATIONAL AND CULTURAL POTENTIAL OF THE TERRITORY

The analysis of publications on the sociology of education revealed the contradictions in the educational space under the influence of which the role of the library is changing: 1. Equality of rights to education and social differentiation. The contradiction between the declared equality of rights to education and socio-territorial barriers to obtaining education is reduced by libraries that provide free access to socially significant information and knowledge. 2. "Demographic pit" and the decline in education. A decrease in the number of enrollee at the beginning of the ХХI century led to lower requirements for enrollees and to a decrease in the quality of higher education. Modern GEF establish strict requirements for information support for educational programs of universities. The task of libraries in these conditions is to evolve along with the development of education. Libraries are included in the knowledge management process, developing services aimed at servicing new research practices. 3. Disproportions in the structure of education. The structure of educational programs does not fully satisfy the needs of the economy in specialists of the coincident profile. This creates the need for additional education, self-education, lifelong education. Libraries can promote lifelong education and self-education in various areas: – traditional informational support of training programs; – development of disciplinary discourses for teachers and students; – deepening personalization in service; – analysis of open resources for remote users and the creation of tools for their differentiation and use; – participation in the information culture formation; – Promoting the humanization of education; – project activities in popular areas; – informing about educational programs of the territory. 4. The formation of the cultural "capital" of the individual and the "products" of education. In addition to knowledge, abilities and skills in the course of education, the cultural capital of the individual and a special creative environment are formed. The library, associated with the knowledge of a new text, discourse, becomes an instrument of "cultural creation": it facilitates the search and creation of new meanings, forms and supports the creative environment. The formation of the intellectual potential of the territory is based on the interaction and development of scientific, educational and cultural spaces. The library, integrated with all its elements into this complex, dynamic sphere, is changing after its transformation. Library activities are enriched in new directions and expanding functionally, new tasks and intellectual practices appear. The library also retains its immanent functions, which no one else can perform in a changed environment: creating a content resource in the sociocultural and educational discourse of the territory and managing these collections, ensuring equal access to these resources for all users, their organization, presentation and preservation.

Semantics of the initiation plot in short stories by Yu. Felzen

The paper examines the plot of initiation in the stories of the young émigré writer Yu. Felzen as a continuation of the story of the hero of his novel trilogy. In the short stories of the late 1930s, the initiation of the hero-emigrant that was reduced in the novels is found to be associated with a situation of death, provoking his personal and literary development. The plot of the story “The changes” allows correlating it with the archetypal plot of initiation: the hero, having survived a severe illness, surgery, and the departure of his beloved, seems to be moving towards gaining new consciousness, towards writing. However, considering the stories following “The changes” allows revealing the reduction of the hero’s initial transformation. The plot of the story “The repetition of the past” shows how “changes” turn out to be a “repetition” of past life situations for the hero, and he evades the existential existence. The stories “The composition” and “The figuration” confirm the conclusion about the failed initiation of the hero. The work of Russian emigrants as extras on the set of the film “The figuration” is the author’s metaphor for the fate of the Russian emigration. The author’s concept of “the repetition of the past” is the repetition of life situations in reality without being able to change anything and follow the geniuses in creative work. According to Felzen, an emigrant is doomed to adapt and repeat in the inauthentic existence of life the situations that happened to him in another culture and at a different age “The composition.” Emigration does not replace a person with another one. Neither does it form his self-sufficiency.