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From the Editor

Zengin S.S.

pp. 7-17

Irrationalism as a functional principle of objectification in postRomantic cultural movements

This article examines issues related to the emergence of a distinctive principle of objectification associated with the rationalization of the irrational in a scientific or conceptual context. It identifies structural changes that have occurred in the system-forming elements of European culture as a result of the assertion of rationalistic tendencies in previously irrational areas, extending to many cultural subdivisions: philosophy, previously unclaimed scientific fields of knowledge, religious and mystical realms, and the arts. By generalizing the problem relationship between empirical and abstract knowledge, it demonstrates both the stability of this emerging tendency and the complications in its assessment and definition. The special role of the Romantic movement in culture is highlighted as a catalyst for the rationalistic approach in the irrational sphere. A systems analysis is used to examine the problematic as a whole, emphasizing both the positive and negative tendencies of the phenomenon under consideration. The article demonstrates how the origins of the phenomenon align with the theoretical systems of leading scholars. It also highlights the relevance of research in this area for a comprehensive analysis of the phenomenon of rationalization of the irrational, as well as for studying the consequences of this process in contemporary cultural situations. In general, the article may be relevant for a comparative study of changes in culture to identify both positive and destructive transformational tendencies in the system-forming elements of the cultural field.

Keywords: rational, irrational, neo-Kantianism, cultural architecture, homeostasis, mysticism, science, art, religiosity.

Kudryashov S.V.

pp. 17-28

Post-dramatic paradigm in the research of modern Russian theater

In this article, the authors consider the post-dramatic paradigm in modern post-dramatic theater research. Analyzing the most representative articles related to this topic, the authors attempt to generalize research directions in various fields of scientific knowledge about theater into a single paradigm of theater science of the postmodern era, analyzing both the diverse research directions within this paradigm and its essential contradictions in general.

According to the authors, the experience of combining the theoretical and practical creative foundations of modern Western European theater with the traditional theatrical culture of Russia, primarily in its established scientific school of understanding the phenomenon of theater and its great practical artistic achievements, is not productive and, moreover, poses a certain threat to the substitution of traditional values of Russian culture.

Noting the eclecticism and mosaic of meanings in modern theater science, the lack of a unified understanding of the essence of theatrical art in various fields of scientific knowledge, the authors propose a syncretic approach to research as the most productive and consistent with the national cultural tradition in both theoretical and practical and creativehistorically developed theatrical directions. Arguing for the need for a syncretic approach, the authors believe that it can overcome the current crisis situation in scientific knowledge about the theater and will provide a new direction for research activities in understanding the phenomenon of modern theater.

The article is addressed to researchers of the modern theater of the postmodern era, cultural scientists, as well as a wide range of specialists in related fields of humanitiesscientific knowledge who address the issues of applied importance in relation to the topic of this research.

Keywords: post-drama paradigm, post-drama, postmodernism, theatrical text, Russian cultural tradition.

Naidenko M.K., Vasilchenko N.N., Zhurkov M.S.

pp. 29-37

Asynchrony of Transformations in the Social Environment and Cultural Processes in Modern Society

The article examines the social environment and cultural processes, which are a dynamic system where each element is both a cause and an effect. The purpose of the article is to provide a theoretical analysis of the relationship and interdependence between the social environment and cultural processes. To achieve this goal, the following objectives have been set: to explore the current understanding of the interaction between humans and the social environment; to identify the specific nature of the social environment, which is fundamentally different from the natural and information environments; to characterize the concept of the cultural environment and identify its key characteristics; and to investigate the relationship between the social environment and cultural processes, which are a dynamic system. The subject of the study is the relationship and interdependence of the social environment and cultural processes. The scientific novelty of the work lies in clarifying current trends in changes in the social environment and cultural processes, which occur unevenly and asynchronously. The study reveals that cultural processes are never static. They constantly evolve under the influence of changes in the social environment. The emergence of new social groups or changes in the status of existing groups inevitably leads to cultural shifts, such as the emergence of new forms of art, linguistic practices, and transformations in value orientations. Changes in the social environment and cultural processes do not occur simultaneously. Sometimes, social transformations precede cultural changes, creating a situation of cultural lag. In other cases, cultural innovations prepare the ground for social transformations.

Keywords: environment, cultural environment, process, cultural process, dynamics, dynamic system, society.

Petrova S.I.

pp. 37-48

The Аspect of the category of “non-action” in the structure of the artistic method of socialist realism (based on the material of musical art)

The special features of the culture of modern mankind are the manipulation of mass consciousness and “non-action”. The category of “non-action” was formed in the philosophy of Taoism, expressing a split in a person's self-awareness into a “social functionary” and an “existential personality”. On the scale of this split, a person refuses social activism, takes a contemplative position, seeks to go with the flow of social and natural processes without opposing the latter.

In the art of the XX–XXI centuries, the unity of manipulation of consciousness and «non-action» was clearly manifested in the artistic method of socialist realism. Socialist realism is focused on turning art into a propaganda industry, and artists – into social functionaries, propagandists of ideology. The artist-personality, deprived of the possibility of confessional self-expression, was forced to withdraw into himself, taking the position of “non-action” in relation to the force of social influence that was insurmountable for him. A similar situation arose on the side of the mass person – the reader-listener-viewer, who realized that the means of art were manipulating his consciousness, but being unable to turn the tide, he also assumed the position of “non-action” to act under the pressure of socio-ideological influence.

Manipulation and “non-action” as a feature of art are especially clearly manifested in the conditions of neural network artistic creativity. AI turns an artist from a complete and self-sufficient author into an accomplice in the human-machine creative process, leaves the fullness of manifestations of existence in the self-enclosed consciousness of the individual. The subject of research in this article is the artistic method of art of socialist realism, as including the aspect of “non-action”. The purpose of the study is to show that the aspect of “non-action” found on the scale of the artistic method of «socialist realism» characterizes only the beginning of the process, which develops in the context of an information technology-based culture.

Keywords: artistic method of socialist realism, non-action, artificial intelligence, artist personality, sonata.

Borisov B.P

pp. 48-60

The symbolic nature of bodily expression in choreographic art

Against the background of the cultural and historical genesis of the phenomenon of dance art, the article analyzes the symbolic nature of bodily expressiveness, to the extent that it explores the philosophical and anthropological origins of the concept of “physicality” and its distinctive identifiers.

The purpose of this work is to explore the symbolic nature of bodily expression in choreographic art.

Objectives:

1. To identify the relationship between the symbolic nature of bodily expression in choreographic art and its representation in artistic culture. 

2. To substantiate the idea that the symbolic nature of dance art, embodied in artistic images, largely determines the qualitative specifics of a particular era, forms its cultural, spiritual and intellectual context.

3. To demonstrate by examples that philosophical and anthropological contexts, “corporealities”, are objectively related to both rational (explicit, utilitarian) and sacred (hidden, secret) meanings and values.

4. To identify the main types of symbolism of physicality in choreographic art, which are an identifier of a particular culture or cultural and historical epoch.

The relevance of the research is due to the fact that understanding the sacred meaning of the symbolic nature of bodily expression in culture and dance art becomes a factor in deeply comprehending the cultural experience of our ancestors, preserving historical memory and continuity of generations, which contributes to the preservation of the cultural code and sovereignty of our multinational people.

The scientific novelty of the presented article is as follows:

1. It is revealed that ancient harmony and proportions become the defining measure forming the foundations of the symbolism of bodily expressiveness in professional dance art.

2. It is established that the court etiquette of the Louis XIV era lays the foundation for an exemplary art form – classical ballet, in which physicality is represented by a new non-verbal language.

3. The main types of symbolism of physicality in choreographic art are defined and characterized.

As a result of the research, the authors came to the conclusion that choreographic art, reflecting the trends of the time, is endowed with a special semantic meaning, revealed in symbols, which become not only gestures and movements, but also the human body itself in its value-semantic meaning.

Keywords: choreographic art, symbol, physicality, artistic image, culture, aesthetics, ballet. 

Klimova I.A., Kalinina G.N.

pp. 60-71

Enforcement of artificial intelligence in socio-humanitarian discourse: culturphilosophical analysis

This article presents an analysis of scientific positions on the issue of AI law enforcement, structured by scientific fields: jurisprudence, economics, sociology, philosophy, and anthropology. Cultural aspects such as the cultural determinacy of the relationship between AI and law, culture as a context for AI legislation, the influence of countries' cultural characteristics on the legal support of AI, and the issue of the cultural subjectivity and objectivity of AI are integrated into each section. For the first time, the national specificity of the cultural component of law enforcement is considered as a mechanism for the preparation and adoption of regulatory legal acts in the field of AI.

The scientific novelty of the study lies in the use of cultural-philosophical analysis to identify the cultural component, which contributes to the disclosure of the pragmatic and spiritual and moral foundations of the legal framework for the development of modern forms of artificial intelligence. This will facilitate a holistic understanding of AI and will also optimize regulatory processes both at the level of the semantic content of legislation, representing the values and interests of society, and at the level of everyday consciousness in people's perception and interaction with this technological phenomenon. This approach allows us not only to systematize existing theoretical approaches but also to identify their latent cultural foundations, which is necessary for developing recommendations for improving AI legislation, taking into account cultural values and the interests of society.

Keywords: AI law enforcement, AI legislation, cultural values and interests, cultural-philosophical approach.

Nibusin A.S.

pp. 71-81

Individual and collective identity: the problem of interaction

The article is devoted to the generalization of existing concepts in foreign and Russian scientific discourse, studying the categories of individual and collective identity. The relevance is explained by the paradox of multiple identities, the blurring of personal boundaries, and the need to search for the relationship between the individual and the collective.

The manifestation of individual and collective components in different studies does not coincide. Foreign concepts show the priority of the individual over the collective, the primacy of one's own self, the relative autonomy and independence of the individual in the formation of identity. Russian concepts interpret the personal element as becoming the conceptual core of the adoption of an external social picture of the world through the fusion of individual and collective principles. Scientists point to the relationship between the individual and the collective in identity as a complex process of interaction with other individuals, cultural images and socio-cultural communities.

The author's view on the content of the categories under study lies in the need to find the foundations for reconciling the two principles under consideration in the diverse aspects of identity. It is concluded that individuality in identity is a system of characteristics that form a unique personality, the ability to maintain a sense of “self-identification”. Collective identity is the conscious involvement of a person in a social group close to him in spirit and the acceptance of its deep group moral and ethical aspirations, as well as self-expression in the national, cultural, ethnic, civic, professional community. The heuristic potential of the categories under study is expressed in the assertion of the authentic and the inauthentic in the structure of identity.

Keywords: identity, self-identity, individual, collective, national identity, group identity, fragmented identity.

Emelyanova O.B., Maslova E.S., Poyda A.V.

pp. 81-89

The axiological turn in contemporary studies of sport as a sociocultural phenomenon

The article discusses the problem of changing the vector of modern research on the socio-cultural phenomenon of sports. Previously, the value-based approach was the basis of such research in cultural knowledge, but now there is an axiological turn in the approaches of researchers to the phenomenon of sports. Analytical works are increasingly positioned, the subject of which is the anti-values common to the socio-cultural processes of globalization: politicization, commercialization, the negative influence of mass media, etc. Thus, the socio-cultural phenomenon of sports not only loses its uniqueness, but also gradually universalizes interdisciplinary approaches in various fields of scientific knowledge, abandoning the initial orientation towards humanization in the Russian scientific tradition. The article substantiates that the original values of Olympism are currently being discredited in line with the processes of globalization, however, the epistemological roots of the value approach to the phenomenon of physicality, physical culture and sports remain unchanged and based on the ancient understanding of kalokagathia.

It was from this understanding that the founders of the Russian scientific school of humanistic theory of sports proceeded, stating the basic position that the purpose of substantiating humanistic ideas in the modern world is, among other things, the implementation of these ideas in the field of sport, recreation, leisure and education.

 The authors believe that it is overcoming this axiological turn, returning to the value approach developed by leading scientists of the Russian Research School, that will both open up productive areas for further cultural research and contribute to the modern Russian concept of affirming traditional values in society in general and in the socio-cultural sphere of sports in particular.

Keywords: axiology, sports, mass sports, humanization of sports.

Naidenko E.A., Plotnikova G.G.

pp. 89-99

Ethnic cultural codes in the context of the implementation of the dialogue of cultures in the modern literature of the North Caucasus (on the example of the work of N. Kiyarova)

The article is devoted to the consideration of the role of modern literature in the formation of a dialogue of cultures of ethnic communities in the South of Russia. The article examines the ways of implementing the dialogue of cultures and polycodicity in modern North Caucasian literature. The topic’s relevance stems from the fact that literature is a significant cultural practice performing crucial worldview-shaping functions by awakening both personal and national self-awareness. The research methodology is grounded in the understanding of literature as an art form that most fully reflects the level of a society's spirituality. The study employs a combination of methods, including discourse analysis of literary works and elements of biographical and semiotic approaches. The research offers scientific novelty by analyzing the work of N. Kiyarova from a culturological perspective for the first time; furthermore, the issue of the polycode nature of contemporary North Caucasian literature has not previously been examined. The empirical basis for the study is the collection of works by N. Kiyarova titled *Rodniki* (Springs), published in 2025. The analysis encompasses short stories such as “The Return”, “The Abduction”, “One Cannot Bypass the Future”, and “His Lot”, among others, as well as the parables “Not Everything Can Fit”, “The Biting Dog”, and “The Fate of the Unyielding”. Each story is examined in terms of how the cultural code is expressed and embodied through diverse forms: words, symbols, and actions. The study focuses on the philosophical and ethical manifestations of the cultural code, embodied in concepts such as responsibility, wisdom, love, fidelity, reverence, and steadfastness – as well as their opposites. The article shows that the work of N. Kiyarova organically combines the way of thinking with the algorithms of the Russian language and the reflection of different levels of communication in the traditional ethnic paradigm, which largely meets the needs of the population for mutual understanding, mutual trust, consolidation in a single cultural space of the region and the country.

Keywords: North Caucasian literature, cultural code, dialogue of cultures, polycode, Nurikhan Kiyarova, stories, parables.

Siyukhova A.M., Gubzhokova N.K.

pp. 100-108

Kuban Cossack Choir: history and modernity (to the 215th anniversary of the creative team)

This article examines the multifunctional role of the State Academic Kuban Cossack Choir in preserving, disseminating, and developing national cultural heritage. It argues that the choir's activities extend beyond local traditions. The ensemble revives the tradition of kunachestvo, which has evolved into a creative collaboration between artistic director V.G. Zakharchenko and Adyghe composer A.K. Nekhay, director of the Islamey folk song ensemble. The inclusion of works from other ethnic groups in the repertoire and touring activities is viewed as a tool of cultural diplomacy, strengthening ethnocultural diversity and advancing the goals of the State National Policy.

The author notes the choir's evolution into a multifunctional cultural center of international standing. Concert activities have taken the form of large-scale performances that synthesize authentic folklore, history, and theatrical drama. The choir's educational mission is realized through inclusive projects, festivals, and master classes. Particular attention is paid to the work of the Center for Traditional Culture: conducting folklore expeditions, publishing the collected heritage, and fostering historical memory in the younger generation.

A significant portion of the research is devoted to the choir's return to the tradition of church singing concelebration, interrupted in 1917. The canonical basis for this was the blessing of Patriarch Alexy II in 1995.

A multi-tiered education system has been built as a strategic factor in ensuring continuity. Its foundation is the V.G. Zakharchenko Children's Boarding School of Arts and Cossack Culture, which integrates the study of traditional Cossack culture and teaches boys classical singing for the church singing tradition. Secondary and higher education are provided by the choral department of the N.A. Rimsky-Korsakov Krasnodar College of Music and the Faculty of Folk Culture of the Krasnodar Institute of Culture.

This system guarantees the continuous transmission of performing skills from authentic performers to new generations. The phenomenon of the Kuban Cossack Choir extends beyond the performing arts. The ensemble serves as a comprehensive cultural, educational, and spiritual center that, through a system of interethnic partnerships, scientific research, church singing services, and continuous education, ensures the transmission of historical memory and traditional values to new generations.

Keywords: Kuban Cossack Choir, culture-forming activities, church singing tradition, interethnic interaction, specialized education system, cultural identity, V. G. Zakharchenko.

Komova D.S., Khvatova S.I.

pp. 108-119

Features of the rhythmic organization of poetic texts in the lyric songs of the Black Sea Cossack villages of Kuban

This article analyzes the features of the rhythmic organization of lyrical songs of the Black Sea Cossacks of Kuban. This genre is characterized by a reflection of the mentality, the system of ethnic values and the philosophy of the people.

The genre's samples demonstrate a wide range of forms of poetic, musical, rhythmic and sonorous composition: from fairly simple, early ones, that bring lyrics closer to ritual folklore, to the highest, most complex ones, typical for songs of long-drawn organization.

The central part of the article is a comparative analysis of the rhythmic organization of lyrical songs from various districts of the Kuban Black Sea region, a description of the features of the rhythmic organization of the genre of different stylistic layers. One hundred and fifteen samples of lyrical songs from two folklore collections are taken from the perspective of structural and typological analysis. The author's field materials and folklore materials of the scientific research center of traditional culture GBNTUK KK ‘Kuban Cossack Choir’, published in seven volumes of the collective monograph "History, Ethnography, folklore of Kuban", are analyzed.

The analysis of the material revealed that the lyrical song genre is characterized by the enlargement of the verse and the strophic compositional unit due to: significant representation of verses from three syllabic groups; interjections (“oh”) or due to repetitions of words in syllabic groups; the use of chain-separated chants based on the repetition of the last syllabic group of the previous verse; introstrophic repetition verse; intra-verse and inter-verse repetition of a verse; the use of poetic insertion after a word break.

In conclusion, a comparative analysis of all the presented samples is carried out, in which it is clear that the form of musical and poetic texts is strophic, but at the same time the degree of variation of forms is high due to the variety of their configurations. The formation of large poetic structures occurs mainly due to repetitions of elements of different levels: syllabic groups and whole verses at the intrastrophic and interstrophic levels.

Keywords: folklore, traditional folk culture, singing tradition, Black Sea Cossacks of Kuban, folk song, lyrical songs, rhythmic forms, song verse structure.

Likhovitskaya K.V.

pp. 119-129

Genre and stylistic transformations of the nocturne in the lyrical suite “Saint-Petersburg Nocturnes” by Leonid Rezetdinov

The article is dedicated to the piano cycle “Saint-Petersburg Nocturnes”. by the St. Petersburg composer Leonid Rezetdinov. The relevance of examining this work is rooted in the ongoing active reinterpretation of academic genres and styles from past eras within contemporary music. Analyzing this process is of utmost importance and requires scholarly attention.

Rezetdinov’s composition is examined in the context of the development of the nocturne genre. It is noted that the composer relies on traditional genre models characteristic of the nocturne, such as harp-like passagesdescending second-interval lamento inflections, and others. Simultaneously, the composer incorporates elements of modern musical language, including dissonant harmonies, irregular meter, and complex, quasi-free rhythmic structures. Furthermore, more sophisticated, genre-uncharacteristic compositional techniques also manifest in Rezetdinov’s nocturnes, such as contrapuntal devices with vertical permutations or inversions.

Rezetdinov’s cycle is a splendid musical canvas, painted with delicate impressionistic strokes. On one hand, the suite possesses improvisational qualities, evident in its metrics (variable and asymmetrical meters), tonal coloring of the sections, and formal structuring. On the other hand, it is a cohesive and masterfully crafted work, with a system of leitmotifs and overarching formulas, including harp-like passages, cadences-roulades, and lamento inflections.

Keywords: music of the 21st century, piano cycle, nocturne, Leonid Rezetdinov, “Saint-Petersburg Nocturnes”.

Li Pengxiang

pp. 129-137

Features of using ornamentation of traditional Kuban costume in creating original clothing brands

The contemporary fashion industry demonstrates a steady and growing interest in ethnocultural sources as a resource for shaping a brand's unique visual language. In the face of intense competition among designer clothing brands, regional identity is increasingly becoming a significant competitive advantage, enabling the development of a recognizable figurative language that appeals to the consumer's cultural memory. A cultural brand is the core of the cultural industry's competitiveness and an important manifestation of national cultural “soft power”.

The relevance of this study is determined, firstly, by the growing practical need of designer brands in the Krasnodar Territory for scientifically sound tools for working with regional heritage and, secondly, by the insufficient theoretical development of the relationship between ethnographic authenticity and design transformation in the process of creating a contemporary designer collection.

A review of the existing literature allows us to conclude that: 1) the historical and ethnographic description of the Kuban costume is well developed; 2) certain aspects of its use in contemporary design have been outlined, but not systematized; 3) There are virtually no studies examining the ornamentation of Kuban costumes as the basis for a holistic brand system of designer fashion. This study aims to fill this gap.

For a modern designer brand, it is crucial that ornamentation historically carried not only a visual but also a semantic code, functioning within the system of cultural communication.

In relation to brand design tasks, this means the following: ornamentation not only “decorates” a product but conveys a set of cultural meanings upon which a brand concept can be built.

Based on an analysis of theoretical sources and practical material on ethnodesign, four basic strategies for transforming Kuban ornamentation within a designer brand system are identified: Strategy 1: Local decorative accent; Strategy 2: Ornamentation as a modular pattern; Strategy 3: Iconic reduction; Strategy 4: Narrative collection.

A summary of the identified strategies allows us to propose a conceptual model for designing an original brand based on Kuban ornamentation, comprising three sequential stages: Stage 1 – Ethnographic study of the source, Stage 2 – Analytical project systematization, Stage 3 – Artistic and design interpretation.

This model is consistent with the conceptual framework proposed by O.A. Zimina and co-authors and develops it for the specifics of brand design, not just the development of a single collection.

Keywords: Kuban costume, ethnic design, author’s brand, cultural identity, transformation of tradition, decorative and applied arts, clothing design.

Zimina O.A., Pokhlebaeva M.B., Goppe V.V.

pp. 138-149

Easel and ensemble approaches in the design of books of the Volgograd (Lower Volga) publishing house in the 1950s–1960s.

In the 1960s, printing offset plants were built in the regions of the country, new publication formats and databases of typographic typefaces appeared. Public interest in book publishing increased, All-Union art exhibitions of books began to be held, and art criticism of the design of publications developed. New constructivist ideas of book design were being introduced at the Moscow Polygraphic Institute. In the early 1960s, there was a generational shift in artists working in the publishing and printing industry, which brought significant changes in approaches to book design.

The purpose of the article is to analyze the approaches that existed in the design of the Volgograd book in the 1950s and 1960s - easel and ensemble, to study the reasons for changing one approach to another. To achieve this goal, the author sets himself the following tasks: to identify illustrated editions published by the Volgograd (Nizhny Volga) book Publishing house in the 1950s and 1960s; to identify the circle of artists who worked on the design of these publications; to consider the artistic design of illustrated publications from the perspective of the integrity of the book body.

The overcoming of “Stankovism” and the desire to revive synthesis in book art is outlined in the Volgograd book in the second half of the 1960s, ten years later than this process began in the domestic book art. It was due to regional peculiarities. In the early 1960s, artists of the older generation (P.F. Grechkin, V.M. Petinov, P.P. Ostrovsky, V.A. Smetannikov) collaborated with the publishing house, having pre-war publishing experience, using aesthetic attitudes of the 1940s and 1950s in their work. “Stankovism” in illustrations, halftone or linear drawing, lack of unity of font design of the cover, title page, etc., the internal sections of the book.

In the mid-1960s, young graphic artists from the country's leading art universities came to Volgograd. With the change of the art editor in 1963 and the involvement of a younger generation of artists in the design of books, an “ensemble” approach began to be applied in publications. Almost every edition designed by V. Ivanov, V.G. Kurochkin, B.K. Sivets, Yu.K. Batyrshin is unique in their designs, the artists carefully work with the format of the typesetting strip, carefully approach the execution of accidental fonts, they are concerned about the rhythm of all book elements in the design of the book, the size of the unsealed sheet – the “air” of the page.

Keywords: ensemble approach, easel approach, book, book ensemble, Nizhny Volga Book Publishing House.

Filimonova A.V

pp. 150-158

The phenomenon of the school in Soviet and contemporary Russian cinema

The object of the article focuses on the research of the directions of transformation of the image of school in Russian cinema from the late Soviet era to the modern era. It is this object that determines the novelty of the research, since the article offers a generalized view on the evolution of the school`s presentation in cinema. The school is considered as a social-cultural institute. The structure of these changes is also constructed. The methodology is based on the institutional approach, principles of cultural semiotics and theories of cultural sociologists, suggesting a possibility of constructing a kind of society by media technologies.

We propose the following dichotomous opposition: school as a norm – school as the embodiment of social and cultural crisis: institutional integrity – disintegration; pedagogical authority – devaluation of pedagogical authority; collective involvement – alienation; emotional involvement – indifference; democracy – disciplinary pressure. These are criteria of analysis.

Based on the analysis it can be argued that the defining trends in the transformation of the school`s image in cinema are its fragmentation and extreme functionality in the pupil`s life. It may appear to the observer as dehumanization, alienation and formalization. In a way, we can talk about the structuring and forming of the institute, that occupies a strictly designated place in the general system of culture.

Keywords: Russian cinema, transformation, phenomenon, institute, image, norm, crisis, alienation.

Dyukin S.G.

pp. 158-169

Dialectics of creativity and consumption: philosophical reflection on the phenomenon of creative industries in cinematography

Potudanskaya Yu.I.

pp. 158-169

Dialectics of creativity and consumption: philosophical reflection on the phenomenon of creative industries in cinematography

In this article, the author conducts a philosophical analysis of cinema as a space where creative autonomy and the logic of consumption collide. Cinema is viewed not as part of the economy or an art form, but as a component of creative industries, where artistic concepts are inextricably linked to industrial, technological, and market infrastructure. It is shown that the concept of creative industries marks a shift from the opposition of culture and economics to their institutional intertwining, where creativity is now described as a managed resource, and the viewer as a consumer and data source.

The focus is on the dialectic of creativity and consumption. It is argued that consumption is not the external outcome of production, but rather its internal prerequisite; that is, audience expectations, genre formulas, and platform algorithms actively shape aesthetic decisions. At the same time, creativity in cinema is neither reduced to pure freedom nor to completely alienated labor. It exists in an intermediate zone, where artistic subjectivity is continually translated into the language of economic efficiency, but is not completely dissolved in it. Based on an analysis of platformization, the author concludes that digital platforms are changing the very anthropology of consumption. This manifests itself in the fact that, while providing widespread access, they simultaneously structure the viewing experience into controlled trajectories of attention, risking transforming a film from an aesthetic event into an element of a service flow.

The study demonstrates that the conflict between artistic value and commodity form is not a temporary crisis, but a structural characteristic of contemporary cinema. The preservation of creative subjectivity is linked not only to individual talent, but also to the presence of an institutional ecology that supports a multiplicity of value criteria – from commercial success to cultural memory and aesthetic intensity.

Keywords: cinema, film, platformization, economy, industry, viewer, creativity.

Potudanskaya Yu.I.

pp. 170-183

Genre models of late romances by S.M. Slonimsky

The article analyzes four late chamber vocal cycles by S.M. Slonimsky. The relevance of the topic is due to their relatively recent publication in the publishing house “Composer. Saint-Petersburg”: Three romances on poems of Vladimir Solovyov (2007), Three romances on poems by Mikhail Lermontov (2009), Four romances on poems of Alexander Pushkin (2013, ed. 2018) and “Russian Elegies by Anna Akhmatova” (2019).

S.M. Slonimsky relies on the romance tradition of the 19th century, which is most clearly revealed at the level of structural and syntactic organization. In all cases, Slonimsky uses the full texts of the poems, avoiding permutations, abbreviations and repetitions. In the relationship between Slonimsky's words and music, ariose and ariose-declamatory types prevail, thanks to the use of which musical constructions neutralize the fragmentation of poetic texts, building integral, balanced structures based on the period as the basic unit of form.

The composer does not always follow the “correct” prosody, but all violations of the rules have a certain artistic significance for him, which is confirmed by examples. Some means of musical expression acquire the meaning of symbols in romances: these can be musical-rhetorical figures, individual motifs, intonations, harmonic sequences, the texture of accompaniment, and even the absence of accompaniment. Interpreted individually, all these means create a multidimensional artistic meaning of romances, which cease to be just a lyrical utterance of the author, and sometimes even reach the level of mythological generalization.

Keywords: romance, S.M. Slonimsky, the late period, A.A. Akhmatova, V.S. Solovyov, A.S. Pushkin, M.Y. Lermontov.

Chen Zhuo

pp. 183-195

On the Issue of the Musical Aesthetics of Chinese Opera: “Harmony” and “Naturalness” as Creative Principles

This article examines the inheritance and creative transformation of two key aesthetic concepts in traditional Chinese thought—Confucian “harmony” (he) and Daoist “naturalness” (ziran)—within the musical art of Chinese opera. Emerging in the twentieth century through engagement with the Western operatic model, Chinese national opera represents a unique phenomenon of cross-cultural synthesis. Foundational works on Confucian musical aesthetics, grounded in the Yueji (Record of Music), treat harmony as a universal principle of ordering emotion and society. Daoist aesthetics, with its emphasis on naturalness, emptiness, and the paradox of “great music having no sound,” have been examined in studies on Laozi and Zhuangzi.  Recent studies address the reinterpretation of these traditions in works by Tan Dun and in operas such as Liu Liuqiu and The Peach Blossom Fan. However, a systematic treatment of harmony and naturalness as dialectically interrelated creative principles implemented in the musical dramaturgy of contemporary Chinese opera has been lacking. This study therefore examines their embodiment as dialectically linked principles, aiming to reveal how their interaction forms a coherent artistic method shaping musical-dramaturgical logic and compositional techniques. The tasks are threefold: to demonstrate Confucian harmony in Liu Liuqiu and The Peach Blossom Fan; to interpret Daoist naturalness and its role in creating poetic space in The Poet Li Bai, Wang Zhaojun, and Tea: A Mirror of the Soul; and to analyze the dialectical synthesis of both aesthetics in Tan Dun’s The First Emperor. For the first time, these principles are examined as a dialectical pair shaping the artistic method of contemporary Chinese opera, with systematic analysis across modal and rhythmic organization, timbral dramaturgy, and formal structure. The methodology combines historical-theoretical and philosophical-aesthetic approaches, employing holistic musicological analysis, philosophical hermeneutics, and comparative-typological and systemic methods. The empirical basis includes scores and recordings of the aforementioned operas, while theoretical sources draw on the Liji·Yueji, Daodejing, Zhuangzi, and scholarship in Russian, English, and Chinese.

Keywords: Harmony, naturalness, aesthetics, Chinese opera, “The First Emperor” Tan Dun

Cheng Yan

pp. 196-197

Information About the Authors in Russian