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From the Editor

Zengin S.S.

pp. 7-15

On the Role of Traditional Culture in Strengthening Ethnic Identity in China and Russia

The article notes that the traditional culture of Russia and China is procedural in nature, that is, transmitted from the past to the present, from generation to generation; methods and means of studying it are carried out through the transmission of customs, rituals, ceremonies, etiquette through the system of education, enlightenment, publications, through media channels, etc., representing a continuous process in time and space, pursuing the goals of forming ethnosocial identity. Its uniqueness and originality made it possible to form eternal values that ensure the consolidation of society, cultural continuity and national identity of the peoples forming a specific statehood. The article draws attention to the fact that in the structure of the traditional culture of the peoples under study, an important place belongs to the holiday, in which its best characteristics are concentrated. Its main function is the sociocultural unification of people. The purpose and breadth of this form of folk performance make it possible to classify it as national or traditional, state, religious, urban or rural, family, home and other holidays. China and Russia are countries that have common and special, original and sacred properties and meanings of traditional cultures. By comparing them, we can study their special features. Thus, the original world of traditional culture of China and Russia was formed over a long historical time and represents a worldhistorical phenomenon of both ethnic and national identity.

Keywords: traditional culture of China, cultural space of Russia, dialogue of cultures; ethnic identity, oriental traditions, Russian world.

Denisov N.G., Yuan Jiali, Marchenko N.O.

pp. 15-20

Intercultural Communication between Russia and China in the Field of Scientific and Technical Exchange within the Framework of the “One Belt, One Road” Initiative.

This article is devoted to the study of scientific and technical exchange between countries  in the context of the “One Belt, One Road” initiative. The relevance of the topic is due to the  growing importance of intercultural interaction and scientific diplomacy in strengthening cooperation  between the participating countries of this global project. The main purpose of the study is to  identify key areas, mechanisms and prospects for scientific and technical cooperation within the  framework of the “One Belt, One Road” initiative. The paper analyzes the role of joint research  centers and laboratories in the development of scientific relations, the importance of academic  exchanges and educational programs for deepening mutual understanding between countries, as  well as the challenges and opportunities of scientific and technical cooperation in the context of  modern global problems. The methodological basis of the study is based on comparative historical  and systematic approaches that allow a comprehensive study of the phenomenon of scientific and  technical cooperation between countries along the Silk Road. The Concept of intercultural  communication is of great importance for studying the interaction of countries within the framework  of the “One Belt, One Road” initiative. The states located on this ancient trade route represent  a mosaic of cultures, religions and traditions. Understanding cultural differences and the ability to  communicate effectively with partners from other countries is a key success factor in the  development of scientific, technical and humanitarian cooperation. The authors point out the main  directions and various mechanisms of such cooperation, and give specific examples of interaction  within the framework of the Belt and Road.

Keywords: One Belt, One Road initiative, Silk Road, scientific and technical cooperation, scientific  diplomacy, joint research centers.  

Wang Lin, Akoeva N.B.

pp. 21-28

Socio-Cultural Practices in Context Modern Reality

The article examines sociocultural practices as everyday actions, norms and customs that  are part of the cultural life of society. They influence the formation of our worldview, our views  and perception of the world around us. In the ontological context, cultural practices are interpreted  as a unique unity of multiplicities, manifested through various types of human activity, the cementing  factor of which is various semantic phenomena. The presence of a semantic core makes practices  significant, capable of forming certain cultural constants. They are the relay of the basic values  that form the architecture of modern sociocultural relations. But cultural practices are not static  entities. They change, evolve and acquire more and more new forms in accordance with changing  needs and conditions. Thus, globalization leads to unification and, to some extent, to the  deconstruction of a previously formed value system. The new dialectic of relations, which are  built on inseparability and, in some cases, on rejection of certain practices, leads to an institutional  crisis and a change in the entire institutional framework. That is, modern practices are developing  predominantly in such a way that the balance between institutionalized and personalized forms of  collective action is increasingly shifting towards the latter. In this regard, the role of institutions,  which have traditionally been the main instrument for relaying human experience, begins to be  considered in a new way. A certain unpredictability of the activities of institutions and, as a  consequence, the formation of ever new, completely unpredictable practices, actualizes the issue  of studying their modern specifics and further vector of development.

Keywords: practice, sociocultural practice, social action, interest, culture.

Gorenkin V.A., Gasparyan L.S., Shvetsova A.V.

pp. 28-39

The Problem of Socio-Cultural Identity of the Russian Civilization

The article analyzes conceptual approaches to the problem of sociocultural identity of Russian  civilization in modern domestic discourse. According to the method of solving this problem, five  main approaches have been established: monoreductionist approach, dyad model, antinomic-dual  approach, triad model, multi-element approach. The heuristic capabilities and limitations of each  approach are characterized using the example of their individual representatives. The concept of  “sociocultural code of civilization” is used as a conceptual and methodological basis for  characterizing Russian civilizational sociocultural identity. The sociocultural code of civilization  considers a system of stable metahistorical integral characteristics that determine the sociocultural  identity of civilization. It includes three main invariant parameters: 1) the method of political  organization of society, 2) the method of social organization of society, 3) the method of spiritual  organization of society. As a result, based on the author’s interpretation of the triad model, a  characteristic of the sociocultural identity of Russia is formulated as a sociocultural code of  Russian civilization, which includes three integral invariants: sovereignty, spirituality, conciliarity.  The content of these invariants is revealed. The necessity of supplementing the triad model with  a multi-element approach is substantiated, with the help of which a complete picture of the  identity of Russian civilization in all spheres of public life and public consciousness can be  developed. The historicity of the Russian sociocultural code is noted, combining the stability of  invariants and the variability of the phenomenal historical manifestations of these invariants.

Keywords: Russian civilization, sociocultural identity, sovereignty, spirituality, conciliarity, Russian  sociocultural code.

Polomoshnov A.F., Lykova A.V., Lugutsenko T.V.

pp. 40-54

The Great Patriotic War in the Sculpture of Leningrad in the 1960s and 1970s (Through the Example of Projects from V.A. Sokhin’s Archive)

The interaction between sculpture and architecture as two types of art is explored in  the article through the process of forming the image of a monumnt/memorial dedicated to  the theme of the Great Patriotic War in the work of collaborative art teams from Leningrad  in the 1960s and 1970s and considered through the example of projects from the personal  archive of architect Vitaly Sokhin (1925–1995). The problem of art synthesis in monumental  sculpture is revealed in the article from an unusual perspective, through the work of an  architect. Having studied these materials, the author of the article came to the conclusion  that in the 1960s there was a process of the monument becoming heavier due to the  appearance of a massive block behind a dynamic emotional sculptural figure or group and a  gradual merger of sculpture and architectural volume. In the mid-1960s, the main trend was the dominance of the architectural volume forming the image of the monument and the  subordinate position of the sculpture. The monumental dynamics is achieved by shifting the  architectural volumes. Studying the development of the esplanade project on Vasilievsky Island  in Leningrad gives an idea that the monument dedicated to the Great Patriotic War was  envisioned by the authors in the first half of the 1970s as a complex of images with a  developed storyline and several compositional centers. Architectural practice in the construction  of residential and public buildings influenced monumental sculpture. Massive brutality and  laconism of concrete masses became a characteristic feature of monuments and memorials  of the 1960s and early 1970s.

Keywords: monumental sculpture, monuments, memorials, the Great Patriotic War, Vitaly  Sokhin.

Andreev D.N.

pp. 54-61

Symphony Vocal Suite “The Great Wall of China” by Du Mingxing as an Embodiment of Heroic-Patriotic Aesthetics in Chinese Musical Art of the 20th Century

The article contains an analysis of the biography, the origins of creative activity and  the peculiarities of the musical style of the Chinese composer Du Mingxin. Based on historical,  biographical and musicological analysis, the structural and stylistic features of modern Chinese  music were determined. In the framework of a practical study, the heroic and patriotic  aesthetics of Du Mingxin’s vocal suite “The Great Wall of China” has been studied. The  main features of Du Mingxin’s musical style are a combination of elements of classical  symphonic music and motifs of Chinese folk songs, which give additional expressiveness to  the composer’s vocal and instrumental works. The analysis of the structure and musical text of the suite “The Great Chinese Song” allowed us to identify typical author’s techniques –  vertical harmonies and horizontal lines-singing in each section of the work, as well as using  two characteristic intonations (intonation low-second and low-terse tonic) in the development  of the melody. Based on the analysis of the structure and content, the suite “The Great  Chinese Setna” can be attributed to the program works of the picture type due to the  presence of specific elements in it: reproduction of images of nature, a sense of admiration  for its beauty, the sublimity of national holidays, genre and everyday scenes from folk life.  In the center of the composition of the work is one of the most significant symbols and  monuments of Chinese culture, which indicates its patriotic orientation. Heroic motifs are  realized due to the rich orchestration and motifs of heroic music of the Western European  sample. The author comes to the conclusion about the growing relevance and necessity of  an in-depth study of the stylistic features of the composer’s work.

Keywords: symphonic vocal suite “The Great Wall of China”, Du Mingxing, heroic-patriotic  aesthetics.

Wang Yitong, Nazarova E.O.

pp. 61-68

Violin Music in Russia and China: The Experience of Comparative Analysis

The article is devoted to a comparative analysis of the characteristic features of violin  performance in Russia and China at different periods of its development. It is noted that  violin music is an important element of the musical culture of both a single country and world  culture as a whole. The paths of development of violin music in countries such as Russia  and China are inextricably linked with the national color, folklore, musical, performing and  artistic and aesthetic traditions of these countries. The purpose of this study is to determine  the role of the Russian and Western violin schools in the development of the musical culture  of the PRC. The author of the article concluded that the formation and development of violin  art in Russia and China took place within the framework of the formation of the national  musical culture of each country. However, the high qualifications of the teaching staff and  modern performers in China are largely due to the influence of Russian and European  concepts. In modern musical institutions in Russia, teachers strive to educate a musician who  can master all styles of violin music. A characteristic feature of violin music of the 21st  century in China has been the pursuit of idealism and impeccability in the field of performance  technique. A comparative analysis of violin art in Russia and China showed that the two  countries have both common points of contact and certain differences. But this does not  prevent them from developing violin music as the most important basis of world and national  musical culture.

Keywords: violin, violin performer, world music culture, Russia, China.

Sun Jiyao

pp. 68-75

13 Variations on the Theme of Ariette from Singspiel by K. Dittersdorff «Red Hiding Hood» WoO 66 A-dur in the Context of the Finale Problem in Program Variations by L. van Beethoven

The purpose of the study is to consider the dynamizing role of the final phase in the  dramaturgy of L. van Beethoven’s program variations. The complication of the processuality  in the last variation is associated with a complex of techniques: increased virtuosity, intensified  modulation development, a dominant organ point, thematic connections of the last variation  with the previous ones, completion of the development of cross-cutting motifs in the cycle,  climax, polyphonic development, introduction of the fugue as an independent section, inclusion  of additional sections. In Beethoven’s Variation Cycles, the Coda became of great importance  in solving the problem of the finale. One of the vectors for strengthening its role is the influence of pianists’ concert practice within the framework of the virtuoso concept of music.  Another trend is associated with the influence on the variation process of the dynamic  properties of sonata through logic. The article provides an overview of two trends in the  implementation of the final phase in the programmatic variation cycles of L. van Beethoven.  The cycle on the theme of Arietta from the Singspiel by K. Dittersdorf “Little Red Riding  Hood” is analyzed in more detail. Here the concerto and sonata principles are synthesized  in the final phase of the classical variations. As a result, it turned out that this cycle  synthesized concerto and sonata principles in the final phase of classical variations.

Keywords: L. van Beethoven, variation cycle, programming, dramaturgy, finality, coda.

Shmakova O.V., Parkhomenko G.V.

pp. 76-83

Features of the Musical Characteristics of the characters in Foreign Film Interpretations of the Novel by L.N. Tolstoy “Anna Karenina”

The article examines the musical characteristics of the heroes of the foreign film  adaptations of L. Tolstoy’s novel “Anna Karenina” (Anna, Vronsky, Karenina, Levin), conducts  a comparative analysis of the musical interpretation of images and traces their dynamics.  The basis for the study were films in which the leitmotivs of these characters are present.  As a result of the research, the following theses were proved: the musical characterization  of Anna Karenina as a person is given only in the film J. Duvivier, in the films of B. Rose  and C. Duguet, her characterization is interconnected with other characters and her feelings  for them; the musical interpretation of the images largely depends on the national  characteristics of the country to which the filmmakers belong; music influences the image  of the characters, helps to identify their hidden feelings, intentions, spiritual qualities; in the  studied film interpretations of the novel, the musical characteristic does not dissonate with  the external and verbal, but complements and reveals them; music influences the viewer’s  perception of the hero, determines the measure of his sympathy; the musical characteristic  narrows the boundaries of the hero’s perception, making it more unambiguous, which leaves  no room for the audience’s interpretation; in each film, the musical characteristics of the  characters differ depending on the interpretation of the director and the emphasis on certain  personal qualities.

Keywords: “Anna Karenina”, novel, music, cinema, leitmotif, film interpretation.

Aleksandrova D.A.

pp. 83-91

The Phenomenon of Physicality in the Art of Modern Dance

The main provisions of the article relate to the field of modern dance and its perception  by the viewer, which becomes full-fledged with the appropriate dance and performing culture.  The theme of the work touches on the aesthetic function of choreography, largely related to  the representation of modern dance in society. In this problematic field, the contradiction  between the sides of the performer and the viewer is revealed in their insufficient ability to  communicate through the art of modern dance, reflected in its interpretation, the system of  stage values and, as a result, in understanding each other as a whole. Through the formulation  of this problem, the role of physicality in revealing the image of the performer and the  translation of meanings in the art of modern dance and its application as a subconscious  means of kinesthetic communication and influence on the viewer is considered. This paper  examines the following aspects: the importance of the physical body as the main means of  expression and communication in the context of art and dance. Physicality is a holistic concept  that includes emotional, psychological and spiritual components. The transmission of thoughts,  feelings and inner world through the dancer’s body, through the creation of unique and deep  artificial images. Physicality in dance allows the artist to discover new levels of self-expression  and expand the possibilities of influencing the viewer through the creation of emotional  connections. The article argues that the concept of physicality in the art of dance, being a  means of expression for a dancer, combines physical, emotional and spiritual dimensions,  opening up new horizons of self-expression and interaction with the audience.

Keywords: physicality, choreography, kinesthetics, modern dance.

Tatarintcev A.Y., Soloviev N.À.

pp. 91-97

Huan Tzi and the World of Childhood: Features of Reflecting the Image of a Person in School Songs

The article focuses on the chamber vocal and choral works of Huang Zi, a composer  and theorist who stood at the origins of professional music education in China. The subject  of the study is the embodiment of the image of a person in the music of the Master. Methods  and approaches: historical-style, systemic; methods of hermeneutics, comparative studies,  musicological analysis. The novelty of the research lies in the study of the figurative and  artistic world of the composer as a system reflecting the historical and cultural factors of a  changing reality. Based on the analysis of the vocal cycles “Rhymes”, “Persuasion to Study”,  songs “Walking through the Snow in Search of a Blooming Plum”, “Song of Resistance to  the Enemy”, the existence of a synthesis of various genre sources is substantiated, which  determines the “openness” of the content of Huang Tzu’s songs for the perception of listeners  of different nationalities . As a result of the study, the complexity of the figurative content  and style of the composer is proved even within the framework of one vocal cycle, showing  the gradual approach of the song to the characteristics of the romance genre. Preservation  of intimate utterance, calm tempo, predominance of major keys, clear composition (period  form or simple two-part structure), consonant harmonies models the ideal world of childhood  in music. It is important that this is not an illusory dream world, but a real one, filled with  movement in its various forms associated with comprehension of the world.

Keywords: Huang Tzu, “Rhyme Songs”, “Persuasion to Learn”, “Walking through the Snow  in Search of a Blooming Plum Tree”, “Song of Resistance to the Enemy”, Music for children,  genre fundamentals, stylistic synthesis.

Wu Mi Na, Chen Xinyu

pp. 97-110

Author’s Styles of Choral Arrangements of Folk Songs from the Repertoire of the State Academic Kuban Cossack Choir

Modern choral folk singing art is distinguished by significant genre and style diversity.  In the twentieth century, various style models of folk songs were formed in Russian musical  culture: from authentic samples to stylized musical works intended for performance on stage.  The phenomenon of arranging a folk song requires the same careful study as the phenomenon  of traditional musical culture. Since the 50s of the twentieth century, researchers have widely  discussed the need and methods of arranging folk songs for stage folk singing groups. The  least explored aspect of the topic at this stage is the author’s arrangement styles. The purpose  of this article is to compare the stylistic appearance of several arrangements of folk songs  from the repertoire of the State Academic Kuban Cossack Choir. They were based on  traditional songs of the Kuban Cossacks, recorded in the villages and farmsteads of the  Krasnodar Territory. Song arrangements were made by the artistic director of the Kuban  Cossack Choir V.G. Zakharchenko and one of the choirmasters of the group (in the period  from 2007–2013) I.A. Albanov. Arrangement techniques tried by V.G. Zakharchenko, are  aimed at maximizing the preservation of the compositional features of authentic samples of  folk songs. Method I.A. Albanov is a deep musical processing of the source material, a  stylistic rethinking of the tune.

Keywords: Kuban, choir, folk song, arrangement, processing, structure, rhythm, texture,  harmony.

Zhiganova S.A., Kozub D.V.

pp. 110-120

The Artistic Life of Rostov and Nakhichevan on Don in the Early Twentieth Century, its Forms and Directions

Based on museum and archival documents, materials from retrospective periodicals, the  article examines the artistic life of two Don cities: Nakhichevan and Rostov in the early  twentieth century. The scientific novelty of this work consists in the introduction into art  criticism of previously unknown factual data on the development of the artistic life of the  period under study, functioning associations, operating classes, schools, workshops, lost  biographical data about artists and teachers. The purpose of this article is to study and  analyze the artistic life of Rostov and Nakhichevan on Don at the beginning of the XX  century, to identify its specific features. The subject of the study was the forms of artistic  life in these cities. The complex, diachronic, comparative, biographical and reconstruction  methods were used. The analysis of archival and museum documents showed that the artistic  life of the two Don cities, since the end of the nineteenth century, proceeded in close  interrelation. It was influenced by both local artistic forces and those who arrived on the  Don, as well as persons not directly related to the fine arts: public figures, merchants and  patrons. At the beginning of the twentieth century, the artistic life of the Don region had  very diverse forms: the creation and activity of associations, drawing classes, schools,  workshops, exhibitions, lectures on art, meetings, evenings, the development of art criticism,  the formation of galleries and collections. In the 1910s, exhibition activity in Rostov reached  its peak, included annual Easter, Christmas, student, personal exhibitions, and was of an  international nature. The peculiarity of artistic life on the Don was its continuation during  the First World War, as well as the intensification of its activity during the period of civil  confrontation, which is associated with the migration of artistic and creative forces to the  region. In addition, at the beginning of the twentieth century, all the main directions of  professional art education were laid in Rostov and Nakhichevan, which were continued in  Soviet times.

Keywords: the artistic life, Rostov on Don Artistic Society, Rostov-Nakhichevan on Don  Society of Fine Arts, Art and craft training workshop named after Popova, A.S. Chinenov,  I.S. Bogatyrev, S.G. Nedler.

Makhno N.V.

pp. 121-127

The Bear Image in the Russian Clay Toy

The bear is one of the main characters in the Russian clay toy. Its image has been  developed in different centers of folk art. The author aims to identify local and common features  of the bear’s image in Russian folk clay plastics, using the example of toys from large centers  of folk crafts. These issues are poorly covered, which explains the relevance of research. In  each region, the art of folk craftsmen is unique. The Dymkovsky bear is always elegant and  bright, its image reflects the mood of festive fairs and circus performances. The Kargopol bear  is more than others reminiscent of the connections with archetypes and ancient beliefs. The  Filimonov bear is the most stylized. The Skopin bears approach the monumental sculpture in their  architectonics and represent the image of a powerful and sturdy animal. Despite the large number  of peculiar and local features, the clay plastic of famous ceramic centers of folk-art crafts has  common characteristics. The image of a bear in a Russian folk clay toy is dualistic – on the  one hand, it is depicted as a strong beast (and here its “bearish” origin is manifested: clumsiness,  power of the figure, bear hump-withers); on the other hand, as an anthropomorphic creature (with  attributes characteristic of humans – dishes and musical instruments). The dualism of the character’s  interpretation is due to the variability of the bear’s perception in Russian culture.

Keywords: bear, Russian clay toy, handicrafts, decorative and applied art, artistic image.

Mitina M.N.

pp. 127-138

The Concept of “Musical Culture of a Region” in Musical Regional Studies

The author analyzes the scientific ideas that have developed in the interdisciplinary theoretical  discourse of musical regional studies around the concept of “musical culture of a region.” The  purpose of the study is to search for general epistemological foundations for the interpretation of  the sociocultural phenomenon described by theorists. The material was the author’s thematic  selection of domestic and foreign scientific literature devoted to various aspects of musical regional  studies. The methodology of the work is based on a synthesis of metacommunicative and structuralfunctional approaches of domestic cultural studies and musicology. To analyze the sources, the  heuristic potential of culturological attribution, the evolutionary theory of cultural development, the  “frontier thesis” and the theoretical construct “sociocultural frontier” are used in the context of  the concept of the integrity of musical culture of the Soviet theorist D.K. Mikhailov. The scientific  novelty of the study is represented by the author’s thematic selection of literature and the  generalization of foreign and domestic approaches to understanding the musical culture of the  region. A generalization of the studied literature made it possible to propose the author’s definition  of the musical culture of the region as a sociocultural frontier, and to establish a significant factor  in the presence of which the musical culture of the region can be considered as a special form  of systemic activity, as well as to determine the key role of composer creativity in preserving  and enhancing the uniqueness of the musical culture of the region.

Keywords: region, regional culture, musical culture, musical regional studies, ethnomusicology,  intercultural communication, musical culture of the region, composer’s creativity.

Polyushkina K.V

pp. 138-145

“The Party’s Daughter”: Towards Learning the Experience of Implementing Heroic-Patriotic Opera of the European Type with Chinese National Specifics

Vocal art, developing in different regions of the world, reveals universal and specific features,  however, revealing typological similarities. Thus, academic singing has spread its influence and is  the basis of elite music, folk singing is represented in countless local singing styles and retains  its position everywhere, and, finally, pop singing (from the simplest amateur samples to highly  professional individual manifestations) is increasingly conquering the world stage. These three  main lines of existence of vocal art develop both along independent trajectories and periodically  intersecting, forming intricate symbioses. The latter is increasingly reinforced by modern composers’  creativity, which increasingly involves the participation in the performance of their works of vocal  artists who are equally proficient in all three styles of singing, or combine performers with  different styles in a single score (for example, in the opera by R. Shchedrin “ Dead Souls”,  choral concert “If One is Immortal” by A. Mikita, stage performance “Night in Galicia” by V.  Martynov). The author focuses on the heroic-patriotic painting “Daughter of the Party.” The work  is created based on the strengths of Chinese traditional opera, promoting ethnic culture and not  neglecting to introduce new things. The idea is emphasized that the genre was gradually formed  through the integration of various national cultures and is considered the highest form of  comprehensive theatrical art. Chinese opera is a product of the fusion of Eastern and Western  musical cultures of the 20th century, it is socially responsive, reflecting the most important trends  in the country’s political life. Particular importance is attached to the synthesis of the principles  of bel canto vocal sound production and those characteristic of traditional singing art.

Keywords: Daughter of the Party, heroic-patriotic opera of the European type, Eastern and  Western trends in the musical culture of China, reflection of political life in art.

Ye Jiahui

pp. 145-154

The Peculiarities of the Musical Culture Meanings Constitution: Structural and Functional, Semiotic Approaches

According to socio-cultural changes and the emerging humanitarian crisis, the issue of the  functional and semantic content of culture in general and musical culture in particular is identified.  The purpose of this article is to consider the functional and semantic aspects of musical culture  in the cultural paradigm context. The article points out that the constitution of musical culture  meanings is considered to be the quintessence of a social worldview in the long run. Understanding  the functional significance of the structural elements of musical culture to meet the vital needs  of society provides the necessity of the structural and functional approach application. As noted  above, the author analyzes how the socio-cultural significance of music has changed throughout  the history of mankind existence. For a long time, scientists kept their interested in understanding  the role of music in the world, in the organization of public life and in government running, in  the formation of the necessary spiritual and moral trades. The application of the semiotic approach  is used in order to reveal the semantic features of musical culture. Based on theoretical and  empirical researches, the possibilities of this approach on finding sign structures that reveal the  content of musical culture texts are emphasized. This complementarity of the above-mentioned  approaches gives the opportunity to study the musical culture meanings through social functions  which relevant to a particular social group.

Keywords: musical culture, music, culture, functions, meaning, structural and functional approach,  semiotic approach, cultural paradigm.

Mudryan N.S.

pp. 155-157

Information About the Authors in Russian