THE FEATURES OF THE ENVIRONMENTAL TRANSFORMATION IN THE MODERN CITY (CASE STUDY OF KRASNOYARSK)

Urban planning concepts for mass housing construction were tested in the cities of Russia before the XXI century, the legislative framework changed, the centralized architectural activity lost its force. The diversification of the economy, the development of socio-cultural processes radically changed the approach to the formation of the city environment. The fulfillment of the requirements for the intensification and rationality of the use of territories without a comprehensive study of the city morphology changing often leads to the environment deformations. The purpose of the study is to identify the tendencies of the city morphology development under the influence of changes in ideas about the environmental quality. The city environment is understood as the unity of the natural and anthropogenic landscape, as well as the effective force – the citizens. In the study, the tasks were: to identify the most sustainable elements of the natural framework, constructed areas in a historical sequence; to determine the morphological periods of the Krasnoyarsk development, morphotops of the residential territories; to investigate the structure of the city fringe belts; to formulate the tendencies of the development of lower tier pf the residential housing and public spaces as the most susceptible to change under the influence of socio-cultural processes; to formulate the tendencies of the morphological development of Krasnoyarsk. To determine the boundaries of morphotops, calculate indicators CIS-tools with georeferenced data were used. To analyze the functional density of saturation of morphotopes with objects of small and medium-size business geoanalytical visualization of “functional flows” was performed. To assess pedestrian accessibility and visual connectivity, a spatial syntax method was used in the work. The main results of the calculated indicators were produced be the method of exploratory data analysis/ As a result of the study, the socio-cultural processes influencing the development of the morphology of the city were established; morphological period of the city development, morphotops of residential arears have been determined, changes have been made to the typology of public spaces, the concept of fringe belts has been confirmed, a new type of fixation line has been established, the pattern of development of lower tier of residential housing have been investigated. These results characterize he features of the transformation of the city environment and can be used for the purpose of architectural and urban design.

DOCUMENTARY ANIMATED: GENESIS AND SPECIFICITY (PREVIEW ARTICLE)

Animated documentary is becoming one of the fastest growing phenomena of modern screen art in the post-truth era. The review and analysis of scientific works devoted to animated documentary is seen as relevant both for the further development of scientific thought and the search for new research strategies that expand the problem field, and for the practical sphere. The research was conducted on the basis of a review and analysis of scientific literature (monographs and articles in international journals included in electronic research system international databases Scopus, Web of Science, eLibrary.ru) in English, Spanish and Russian for the period 1997-2019. The novelty of the review article is not only an attempt to present a systematic view of animated documentary as a phenomenon of screen art, but also to identify and systematize the areas in which scientific discussions are conducted. It introduces the reader to theoretical views on the terminology, Genesis, specifics, nature, and classification systems of documentary animation. Animated documentary appeared when the cinema was just taking first steps but its development began in the 1980s. At this time, animation begins to take an interest in reality, inner peace, and socially taboo topics. Since the 1990s, the foundations of animated documentary are laid, narrative strategies are developed, and a new language are actively sought. Interest in animated documentary from the scientific community arose only in the 2000s. On the one hand, it has been manifested by the increasing role of documentation in the art, which has taken on an attraction character since the advent of digital technology; on the other hand, and as a consequence of the convergence of screen arts and the emergence of hybridization trends. The academic community has focused around developing definitions and understanding what can be attributed to the field of documentary animation. By 2010, the scientific literature focused on issues related to the specifics of animated documentary, ways of presenting reality, and indexing. By the mid-2010s, animation is becoming the subject of interdisciplinary study. At this time, there are develop tools for analyzing works of animated documentaries, and its genre system begins to build. One of the main features of animated documentaries is hybridity. Its dual nature is born of fluctuations between the certainty of facts and artistic embodiment. The problems of authenticity and representation of reality become one of the most controversial topics in an animated film. The work provides an overview of theoretical studies on the genesis, history and particularities of animadoc. The theoretical texts identify three approaches that form the main directions in the analysis of animated documentary. The first group of researchers analyzes this phenomenon and its nature based on the theories of documentaries and the transformation with the advent of digital technologies, of the concepts of reality, authenticity and fact (document). The second group of authors considers animation as a phenomenon of modern animation that arose as a result of technological renewal and changes in its role as a socio-cultural practice. A third group of scientists believes that animadoc is a post-postmodern phenomenon that arose as a means of presenting a world in which there is mobility of borders and cyberspace becomes a new reality. The review allows us to conclude that animated documentary is a manifestation of a new mode of postphotographic vision of a reflexive nature, in which the imagination that refracts images of reality becomes of primary importance. Despite the interest in it from the academic community and the emergence of theoretical works, the study of this phenomenon is only at the initial stage. Despite the interest in it from the academic community, there is a small number of deep theoretical works caused by the hybrid nature of the phenomenon itself, the imperfection of working models and methods for analyzing representational strategies, and the problems of forming a conceptual apparatus.

Articulatory peculiarities of the Baraba-Tatar phoneme о /ʊ̇/ (on MRI data)

The paper aims to describe the articulatory traits of the Baraba-Tatar phoneme o /ʊ̇/ by the somatic methods. The method used is magnetic resonance imaging (MRI). Eighteen Barabian tomograms comprising o-type articulation have been described and analyzed according to the technique adopted in the V. M. Nadelyayev’s Laboratory of Experimental-Phonetic Researches (Institute of Philology SB RAS). The text provides only general observations and conclusions, with a full description of all tomograms given in three tables. The experimentalphonetic analysis of the Baraba-Tatar tomograms of the vowel o allowed the author to draw several conclusions. There is a variability of the o-type tunings in Barabian, the most typical being the central-back narrow labialized ejective realization. Though it is very narrow and is phonetically transcribed as /ʊ̇/, it is acoustically perceived as o. While producing the sound o, the oral and pharyngeal cavities become very small, producing the effect of tension. Additional narrowing occurs between the soft palate and the tongue back as well as between the upper teeth and the lower lip, thus preventing the airflow from free release. The lip position is also unusual: instead of protruding forward, the upper lip moves back, tightly covering the upper teeth to produce an interesting acoustic effect. To sum up, further investigation of all vocal system units of Baraba-Tatar is needed to draw ultimate conclusions about the typological belonging of the language under consideration.

Poetics of literary dream in Sigizmund Krzhizhanovsky’s novel “Sideline”

The paper is dedicated to studying the oneiric text of S. Krzhizhanovsky’s novel “Sideline.” The topicality of the research is due to modern literary criticism interest in examining various aspects of artistic hypnology of Russian writers, as well as studying the works of “returned” authors, including S. Krzhizhanovsky. The realization specifics of the structural model of the literary dream in question can be presented as the following scheme: unconscious falling asleep – dream-journey – awakening by falling down. Different variants of artistic implementation of the main metaphors connected with dreaming are analyzed: “dream-life” in the image of briefcase-cushion and the image of “million-brained” dream of equality and brotherhood; “dream-death” in the image of the leader of a dream world, with the prevalence of thanatological vocabulary in the description of the city of dreams. The ways of imitating the space of real dreaming in the oneiric text of the novel are studied: awakening by falling, sudden muteness of characters, sudden change of location, etc. Also, the specifics of using the plot device of an unannounced dream is considered contributing to the illusion of “reality” of everything that happens to the character in the city of dreams. An attempt is made to consider the oneirotop of the novel in terms of classification by genre and function, plot and composition, images and esthetics and characters, as well as artistic functions of dreams in the literature (plot function, psychological function, idea, and symbolic function). The oneiric text of Krzhizhanosky’s novel “Sideline” is viewed as an artistic realization of the author’s original idea of the subconscious, dreamy origin of a communist utopia.

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.